Marguerite Bornhauser's (1989, Paris) work has been shown at the museum of European Photography in Paris and Paris Photo in 2019, in the streets of Cincinnati for the Cincinnati Art museum, in Arles during the festival of Photography, in Deauville during the Festival Planches Contact, at BETC agency, Agnès B, in the festival MAP Toulouse, in London, etc. Marguerite Bornhauser adds editorial work to her photographic research. Her first book, Plastic Colors, was selected among the finalists of the first book award of Mack books in 2015 and published in 2017. Her book "8" was published by Poursuite in 2018. In 2019 she published Red Harvest with the same publisher. She also collaborates with french and international magazines and newspapers as a photoreporter and portrait photographer as well as a fashion photographer. Red Harvest, Poursuite Editions, 2019, 8, Poursuite Editions, 2018, Plastic Colors, Les Editions du Lic, 2017, Carnet de Résidence du Hameau des Baux, Poursuite Editions, 2017, Fisheye photobook, 2017, 8, Self published, 2016, Festival de créations photographiques à Deauville Edition 6, Filligranes Editions, 2015, Echappées Belles, Edition Diaphane, 2015, Plastic Colors, Self published, January 2015. In 2020 she won the Photo London x Nikon Emerging Photographer of the Year Award.
“The overall effect of Bornhauser’s practice (…) is to remind us of the way in which colour can echo, not only from one image to another, but from one place, or one moment in time, to another. Colour as subject-matter, or rather, colour as a means of producing photographic representations of the real world that surpass the sum of their parts, becomes a kind of psychological projection into or onto the everyday. In a sense this is why Bornhauser has so much in common with writers like Hammett, painters like Henri Matisse, or theorists like Gaston Bachelard, each of whom were sensitive to colour in their own unique and personal way. More in common, one could say, with pictorial or linguistic abstractions derived or drawn from colour, than with other photographers for whom colour is simply a technical issue to be resolved and exploited. In her most recent work, moreover, Bornhauser has sought to engage not only with colour within the visual field but in the process of producing photographs as objects in the world. From sumptuous Cibachrome prints (for many, the holy grail of colour photographic reproduction) to new experiments with moving image and printing on fabrics, Bornhauser has taken the practice of re-showing the world around us as a brighter and more beautiful place to the next level in the terms by which her images occupy space, while never straying far from the unique truths at the heart of the way that only she sees things."
Simon Baker, Director, Maison Européene de la Photographie, Paris
In the series "When Black is Burned", in exhibition at the fair, Marguerite Bornhauser wanders through reality looking for narratives among seemingly random scenes showing them as a play between shadows and textures and where objects and bodies merge to almost become abstract.
When Black is Burned was featured in The Guardian in September 2021
Os Espacialistas + Gonçalo M. Tavares
Laboratorial collective of theoretical and practical investigation of the connections between Art, Architecture and Education. It replaces the pencil with the photographic camera, as a drawing, thinking, perception and natural and built space diagnosis device.
Among the works done the highlights are: exhibitions, installations, artistic assistance to works of architecture, architecture projects, scenic spaces, performances, literary collaborations, photographic illustrations, workshops, seminaries, publications, etc.
Gonçalo M. Tavares
Portuguese writer, is the author of a vast work that is being translated in around sixty countries. His language in rupture with Portuguese lyrical traditions and the subversion of literary genres make him one of the most innovative European writers today.
His books gave rise, in different countries, to plays, radio plays, short films and plastic art objects, art videos, opera, performances, architectural projects, academic theses, etc.
"Atlas of the body and the imagination in exhibition is an ancient title. On the one hand, it is evocative of a cabinet of curiosities, of some wonder of the world that is now finally on display, i.e. visible to everyone. On the other hand, what is being exhibited here is an Atlas, i.e. an organisation into images of a learning that is indexical and non-definitive, now presented in the form that better suits it: the exhibitive form.
In the exhibitive form, the viewing of images and the reading of texts are not carried out in a predefined sequence, as in a book, but in a spatial manner: the movement is led by the legs’ cadence, in a completely anti-natural posture: the body slightly stoops, as the viewer faces the pictures on the wall, all of them displayed a little lower than they should be or too high, while the hypermetropia glasses that focus on the lower section trigger a twisting of the neck, accompanied by a slight flexion of the legs and a rolling of the shoulder blades. An atlas and a twisted, sore, disciplined body: tangible signs that the proposed process of examination – such is the term, clinical and inquisitive – turns the visitor (say, the user) into an individual who is aware of their own body, or at least of its physical limitations. As one image stands beside another, like a variation on Stephen Dedalus’ temporal succession (replacing the sound of steps over Irish pebbles), the atlas manifests as Nebeneinander, the opposite of the temporal succession of Nacheinander, one-thing-after-another, as in the meditative Irish beach. One thing beside another is a series of things that are displayed on the wall, thus becoming a series-of-things.
An atlas is, then, a series."
Excerpt of the text Fido by Delfim Sardo and published here
"The exhibition is, therefore, a device (that is to say, a set of procedures and materialities, hierarchies and histories, proposed connections, divides and discourses) that establishes itself out of an environment, an atmosphere or an ambience. This ambience can, as is often the case in modern and contemporary art, be a model of a place, or a method, of an historical or ideological nature. The exhibition can be a laboratory, a studio, a brothel, a class, a drama or an epic, a pomp and a circumstance, a concert or an adolescent garage session."
Excerpt of the text Fido by Delfim Sardo and published here
Mónica de Miranda
Mónica de Miranda (Porto, 1976) is an artist and researcher, her work is based on themes of urban archaeology and personal geography. She works in an interdisciplinary way with drawing, installation, photography, film, video and sound, in its expanded forms and in the boundaries between fiction and documentary.
She exhibits regularly and internationally since 2004 being nominated for Prix Pictet Photo Award (2016), Novo Banco Photo Prize (2016) and EDP New Artist prize (2019).
Her solo exhibitions include: “no longer with the memory but with its future" (Oratorio di San Ludovico, Veneza), “Taxidermy of the Future” (Museu de História Natural de Luanda, Angola, 2020), "Geografia Dormente" (Galeria Municipal de Arte, Almada, Portugal, 2019), “Tomorrow is Another Day” (Carlos Carvalho Arte Contemporânea, Lisboa, 2018),“Panorama” (Banco Económico de Luanda, Luanda, 2019;“Hotel Globo” (Museu Nacional de Arte Contemporânea do Chiado, Lisboa, 2015), “Arquipélago” (Galeria Carlos Carvalho, Lisboa, 2014).
Her collective exhibitions include: "Europa Oxalá" (curated by António Pinto Ribeiro, Katia Kameli and Aimé Mpane, Calouste Gulbenkian Foundation, 2022), "Dissonances" (MNAC, Lisboa, 2021), "Fotofest Biennial 2020", Houston, EUA, “Utopía y Distopias en el paisaje contemporáneo”, (MAAC, Guayaquil, Equador, 2019), “Taxidermy of the Future” (Bienal de Lumbumbashi, Congo, 2019), “EDP New Artists Prize”, (MAAT, Lisbon, Portugal, 2019), “Fiction and Fabrication. Photography of Architecture after the Digital Turn”, (MAAT. Lisbon, Portugal, 2019), “Doublethink: Doublevision” (Pera Museum, Istambul, Turkey, 2017), “Daqui Pra Frente” (CAIXA Cultural. Rio de Janeiro, Brazil), “Le jour qui vient" (Galerie des Galeries, Paris, France, 2017), “Arte Africana Contemporânea e Estética das Traduções” (Bienal de Dakar, Dakar, 2016); “Bienal Internacional de Arte Contemporânea de Casablanca” (Casablanca, Marrocos, 2016), “Addis Foto Fest” (Addis Abeba, 2016), “Telling Time” (Rencontres de Bamako Bienal Africaine de la Photographie edição 10 éme, Bamako, 2015); “Ilha de São Jorge” (14ª Arquitectural de Veneza, 2014); “Linha de Armadilha” (São Tomé e Príncipe Biennial, 2013), “Do you Hear Me?” (Estado do Mundo, Fundação Calouste Gulbenkian, Lisboa, 2008);
Her work is represented in private and public collections such as Fundação Calouste Gulbenkian, Portugal, Museu Nacional de Arte Contemporânea do Chiado (MNAC), Lisboa, Portugal, MAAT, Lisbon, Portugal, Arquivo Municipal de Lisboa, Portugal, 21c Museum Hotels, Louisville, Kentucky, USA, Soho House, London, UK, Colección Alma Colectiva, Guadalajara, Mexico, Nesr Foundation, Luanda, Angola and PLMJ, Lisbon, Portugal, among others.
"The work of Mónica de Miranda can be understood as an agent that continually reconnects artistic processes with the transitory condition of the spectator. Regardless of the themes she investigates, or of socio-political reflections that strap in her identity a real and emotional sense with the place and history of those who inhabit it, her works contain part of her self-referential experience but not alway autobiographical, because it is not a testimony of the journey but of someone who recognizes herself in the transition and in the territorial change. (…) The photographs of women dressed in black with bare feet, as in “Untitled, from the series City-Scapes” (…) are relevant in the sense that this figure transmits the idea of osmosis with the burned soil in which its own regeneration survives the desertified landscape.” João Silvério
For ARCOLisboa, Mónica de Miranda focus on communities in exclusion that live in the outskirts of the city. By presenting them in staged movement she explores the idea of alienation in the characters by their contrast to the space in which they are inserted. Along with "Reading Circles" and "6 de Maio", the artist will present the sculpture work "Military Road" and the set of works "Casa Jordiana" from the series "Tales of Lisbon".
Tales of Lisbon is part of an archive of images of objects collected in territories on the outskirts of the city of Lisbon, surrounding the old Military Road. This project encourages the development of an integrated research linked to an artistic practice, as well as a reflection related to themes of urbanism, memory and identity, investigating practices and theories related to spaces, places, landscapes and borders related to decolonization. Ondjaki was one of the authors invited to imagine the lost memories based on objects collected from a demolished house.
This series is also on view at the exhibition "Europa Oxalá", Fundação Calouste Gulbenkian, Lisbon, curated by António Pinto Ribeiro, Katia Kameli e Aimé Mpane, ending on August 22.