Work (Photography) « Patrícia Sucena de Almeida

Work (Photography)

Participação na Exposição Colectiva Pescada No.5 (2021)
Projecto Individual (2)
Repraesentatio (Representação)
Aeternum ingreditur tempus, Quod est Omne absconditur in parte (O eterno entra no tempo, o Tudo, esconde-se, no fragmento…)
SPC
9 Outubro 2021

Participação na ROLLEICORDiary FANZINE (diário) Pescada No.5

https://www.facebook.com/ROLLEICORDiaryFanzine/

“publicado pelo coletivo Pescada nº5, por ocasião do período incerto de isolamento em 2020. Publicação semanal com um resumo do diário pessoal de cada um dos elementos do coletivo.”

(selecção 1 fotografia da Fanzine)

 

Participação na Exposição Colectiva Pescada No.5 (2020)

Projecto Individual
Anima Mea
Escola Superior Agrária de Coimbra
7 Março 2020

Projecto Colectivo
com Clara Moura
Respiração do Eco

Participação na Exposição Colectiva Exposição Pescada No.5 (2019)

Silens Flam(M)ma
Mercado da Figueira da Foz
20 Julho

Intitula-se “Silens flam(M)ma (Chama silenciosa)”, com um “M” maiúsculo simbolizando a “chama” um, imagem central no Triplices Tabulae (tríptico), considerando-se duas fontes principais de impulso inspirador, nomeadamente o poema Uma Pequenina Luz de Jorge de Sena (palavras / ideias chave: voz, muda, silenciosa, brilha, aqui, no meio) e o espaço / ambiente intervencionado e “objectos” a este pertencentes como as caixas eléctricas (palavras / ideias chave [contrastantes]: vazio / cheio, ordenado / labiríntico, claro / escuro).

Participação na Exposição Colectiva Pescada No.5 (2019)

Silens Flam(M)ma
Calçada do Gato, Coimbra
16-17 Março

Colaboração com Imagem para Capa CD “O Espaço da Sombra” (The Space of Shadow), Hugo Vasco Reis “Um trabalho dedicado à guitarra portuguesa como instrumento solista na música contemporânea.” http://hugovascoreis.com/ (2018)

Subtile Corpus

Colaboração com Imagem para Winners of Research and Enterprise Academics Showcase competitions

https://www.city.ac.uk/research/about-our-research/images-of- (2018)

37671790_10155526238162623_9185748969450373120_n

Participação na Exposição Colectiva Drop in the Ocean

https://bonirre.blogspot.pt/ (2017)

23550385_1792656664078743_7624532194178362633_o

23621391_1792656617412081_7253519674838543274_n

23845842_1802000289811047_2199593905221496297_o

Publicação da Série Clausum em TEMPO, a Quarterly Review of New Music Volume 71 – Issue 282 – October 2017

Title: Clausum Series (7 Photographs)
Cambridge University Press journals https\://www.cambridge.org/core/journals/tempo

“TEMPO exists to document the international new music scene while contributing to, and stimulating, current debates therein. Its emphasis is on musical developments in our own century, as well as on music that came to prominence in the later twentieth century that has not yet received the attention it deserves. The articles and reviews cover the new music scene in all its complexity, featuring discussions of compositional trends, performance practices, listening practices, new music contexts and reception histories. TEMPO is sympathetic both to writing about new forms of creative practice (electronic, interdisciplinary, performance-based) and to writing that employs innovative methods of enquiry that differ from the aims of traditional musicology.” Editor: Professor Christopher Fox

2

Criação de um livro/caixa (texto e fotografia) Continuum Simulacrum based on Chapter No. 6 from The History of Photography in Sound | Michael Finnissy (2016)

Continuum Simulacrum

Colaboração e Construção:  Jorge Simões – T.art; Maria Ferreira – Chronospaper

IMG_1973

IMG_2010

IMG_2015

IMG_1991

http://www.city.ac.uk/events/2017/january/bright-futures,-dark-pasts-michael-finnissy-at-70

Notes on Continuum Simulacrum

Pour moi, le bruit du Temps d’est pas triste: j’aime les cloches, les horloges, les montres – et je me rappelle qu’à l’origine, le materiel photographique relevait des techniques de l’ébénisterie et de la mécanique de precision: les appareils, au fond, étaient des horloges à voir, et peut-être en moi, quelqu’un de très ancient entend encore dans l’appareil photographique le bruit vivant du bois.’

For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.’

Roland Barthes, La chambre claire: Note sur la photographie /Camera Lucida: Reflections on Photography (translated Richard Howard).

Ian Pace, knowing my work as a photographer, proposed to develop a project relating to Michael Finnissy’s The History of Photography in Sound and I decided to focus in particularly on Chapter No. 6 (Seventeen Immortal Homosexual Poets), the first to be completed by the composer.

The resulting work is a book-box including 29 A5 printed photographs, which almost fit in ones’ hands, entitled continuum simulacrum (a continuous collection of images/spectrum(s)), which has been ‘composed’ like a new musical work with a series of ‘sounding images’ organised in multiple parts (similarly to the HoPiS episodes relating to the poets) and connected by three quotations from Barthes’s La chambre claire (1980), offering a space for reflection. A fourth one is printed directly inside on the left side of the book-box. The ‘created object’ can be considered as an ‘open work’ and maybe the first step which will continue with works re

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