slideluck potshow berlin

last november was held, in berlin, the 4th edition of slideluck potshow in the city.

me and my dear friend barbara wagner were selected to present some stuff. i showed the am rande series, and she presented her great brasilia teimosa project. hayley austin and elsa thorp were also projected that night, and they took part in our exhibition in neukölln as well.

in this very night a selection of ostkreuz work were also presented, with pictures by tobias kruse, ute and werner mahler, maurice weiss, jörg brüggemann, sibylle fendt and sibylle bergemann.

unfortunately the event doesn’t allow us to embed the videos, but you can check (almost) all slideshows from that night in this link.

photographing without it

this and last year i spent a lot of time with breno, a photographer friend of mine, from sao paulo. and it happened that we did a bunch of things together. it is always a nice exercise, to do something related to photography without necessarily taking a picture, wether it is writing, or posing, or taking pictures that doesn’t belong to me.

the things i did with breno were very exciting for my brain, and even though i have the feeling he is miles ahead, so far away i cannot see where he’s going to, i realized that even not photographing a photo is something related to what i’m interested in, when i photograph (i sound like a crack addict hahaha).

this video we did ages ago, drinking wine and talking about marriage on my old flat in sao paulo. i particularly like the narratives created by breno, in which the viewer’s comfort zone is blurred, and even though asking wether it is staged or not is always a nice question to be done, most of times you get close to nothing. no clue.

it is also nice to be close to my arty-farty friends hahaha to refresh my eyes, because in school we end up being more reportage orientated.

we exchanged a couple of emails about the video, and i feel very bad to translate it here, because the most charming thing of them is the fact we write in disgusting-disrespecting-grammar portuguese hahaha

1.
From: Adelaide Ivanova
Date: December 19, 2011 17:35
Subject: two lines
To: Breno Rotatori

breno, i want to write a post about what we did this year. sends a couple of lines to me, describing the video we did? i have my opinion about it, but i want to know your intention.

thanx
kiss
ivi

2.
From: Breno Rotatori
Date: December 23, 2011 13:25
Subject: Re: two lines
To: Adelaide Ivanova

the thing is, i am interested in embodiment that one creates for himself. we are a mix of creations that we made for the others. the fact your name comes from a fictional character* opens another possibility of interpretation. i particularly like the fact that the timing of this portrait is the same timing of Russian literature, where your name came from.

*from dostoievski’s “brothers karamazov”

3.
From: Adelaide Ivanova
Date: December 23, 2011 14:35
Subject: Re: two lines
To: Breno Rotatori

have you heard that the name of that disease, multiple personality disorder, was renamed to dissociative identity disorder?  it is not the personality that is multiple, it is one, but with many facets. i found it more clever, this new name. i’m obsessed with this idea, thinking that the person has within himself various actresses. i’m jealous of that hahaha #fuckedup. i read the case of a girl that psychiatrists were able to catalog 240 persons she would impersonate!

and: the second book of dostoievski, “the double”, which through the title you can imagine that it is exactly about that, these social mechanisms that we represent and adopt and such. and i must point that the book was written before that sociologist max weber created the theory of social roles! our baby fiódor always innovating hahaha

4.
From: Breno Rotatori
Date: December 26, 2011 19:45
Subject: Re: two lines
To: Adelaide Ivanova

damn, 240 characters! that is a crazy thing. i think we all have such “disorder”, dissociative identity disorder, but some are more disordered than others. i had an idea now that we’re talking about it, i will write and send you.

i’m reading the double now! it is amazing how he manages to raise this issue as he do and at that time.

5.
From: Adelaide Ivanova
Date: December 28, 2011 15:10
Subject: Re: two lines
To: Breno Rotatori

breno, have you seen zelig, from woody allen?


perspectiva

this year, some photos from jakob ganslmeier and i were selected for a projection evening named “perspectiva”, exhibited during the programming of brazilian photography festival paraty em foco, in september.

later this year, the same projection was selected for fotograma-11 another photography festival, held in uruguay.

 

Perspectiva_Olhavê from Olhavê on Vimeo.

 

the slideshow was organised by alexandre belém and georgia quintas, who run the curatorial project perspectiva. they found the photographers through a call for submissions, made in july. the selected projects were announced in august.

stillleben (how not to love german language?)

my first attempts to do still life photography. i have done already in the beginning of the year some exercise on that (on colour) and i tried to catch up in b&w. i have not enough references or knowledge when it comes to still life, in order to create something new or interesting, so i just imitated the few things i saw before.

i find the result super girlie and – oh, well – i can’t go beyond me. i’m super girlie anyways.

this is my mom’s favourite.

wash salon

the result of one of thomas sandberg’s homework. we should photograph different people in the same space. i photographed on the washing salloon i usually went to when i`m in berlin (in prenzlauer berg), when i had no washing maschine.

you see, all of them look very friendly and sympathic. i think that comes from my approach, since i usually try to be friendly when i approach people. and i think them smiling to the camera is the natural reaction to that inconscient dialog.

thomas mention that he truly believes august sander must have been a very calm man – or at least was calm as he photographed his people – because there is not agitation in the pictures. they are very much “silent”. he suggested i started working with a tripod and i should take more time with each person. and he obviously mention i should work with better films, which i totally agree and will do.

now i’m looking forward to keep on doing it.

u_mag

a selection of the grandma’s series was published on the latest issue of u_mag, a digital fashion magazine, done collaboratively by people from all over the world, an edited in sao paulo by luigi torres and romeu silveira.

i simply wrote them saying hello and offering myself haha = showing them these pictures, which they published in november’s “love your skin” issue. it seemed to me the perfect timing, since the special skin of my grandma turned 90 years this very month. click here if you wanna check it out!

portrait in space

in english it sounds a little funny (and i’m not sure if i reached the best translation possible), but in german it’s much better: porträt im raum was our last homework, by werner’s class.

i photographed 6 people. since in the first portrait homework i didn’t challenge myself and simply photographed ricardo, whom i met 230 years ago and feel very close to, for this one i wanted to give a little effort and shoot people i would not feel as comfortable with as i felt with him.

so 3 of them are very close friends of mine,  2 were friends’ friends and the last one was a complete stranger i met on a beauty salloon.

the challenge is always the same: not being too close, not being too far. at least for me. with felipe i was lucky to just be around and watch him for some days, and at some point he gave me that moment:

werner said i could have cropped it better and take out the excessive information on the left side and a little bit of the upper part. totally agreed.

with silvia it was fast, because she is not shy and very self-confident. i like this photo, because it has kind of a movement between routine and awkwardness. while moritz is knotting his tie, in a very daily situation for him (he’s a lawyer), she sits on the head of the bed and stares at someone. as far as i remember, no comments on that picture were made.

by jörg’s portrait, werner said it is not a portrait actually, but a photo of a corridor and a kitchen with a man sitting in its end. i like the picture because i like jörg. no, lie, i really like the picture and don’t see why it ain’t a portrait.

i did this other one, but found it so boring that i didn’t show it. but i can see it is more of a portrait. i don’t know, i don’t like it:

with luis was something else. he is very charming, he could be a very easy person to photograph, but i didn’t make it. the funny thing was: as i was taking the pictures, i was really really excited about the possible results, because we had a nice flow together. besides that, the flat where he lives in is big with cool vintage furniture and beautiful light, but somehow all the pictures ended up to be so shallow – the totally opposite of what he is! that’s really the only one where i see a glimpse of personality.

with jonas i have to say i used the excuse to take his portrait to actually go to his place and get to know him better. i explain: i was first introduced to him one year ago and he was so absolutely cynical and arrogant, i felt very intimidated – and immediately obsessed. we never met again. then two weeks ago i happened to meet him on a party and was just challenged to ask him for a photo.

i went to his flat in kreuzberg and we were sitting for ages, drinking coffee and eventually i took one portrait or another, during the conversation. the only posed one is the one by the bed, which i really liked. werner said nothing about them, and no one seemed to be thrilled by them. i like them, even though something with the colors doesn’t function.

then there is cleide, a full interesting person who lives and works in berlin for 6 years now. she’s the owner 4 waxing salloons in germany. her story is totally interesting, but no matter how much time i spent with her and got closer, nothing, nothing came as result. i didn’t manage to take a picture as interesting as she is. this is the one i liked the most exactly because it feels wrong, with this lines behind her, the half-seeing rio’s photo and her smile. werner said it looks like family album pic, and i can’t disagree. sorry, my bad.

lesson learned #1
i’ll stop being oprah. i mean, it’s not a matter of spending 15 minutes or 15 hours trying to discover who’s this person, but to create an image. i’m great at interrogating people and i love it because regular people are just so crazy in the end, but it won’t do a photo. no matter how much you get charmed by a person, it doesn’t mean at all the picture will come good, no matter how deep you try to dive within.

lesseon learned #2
cheap films, yeah, i truly believe in them. but HOW cheap can one go? you know, there’s this shitty ultra shitty kodak color 100 asa that you can buy for 2 euros in sao paulo (never found them in berlin), that still gives you nice result. but this solaris one i bought for 1,80 euro, mein gott… let’s see how it works with flash. i’ll try and give you some news.

between two things

these days i’m busy photographing what i think can be a nice urban landscape homework. i’m photographing the immigration departments in some cities in germany (berlin, potsdam and frankfurt am oder, so far; dresden this saturday), and their surroundings.

i’m also supposed to write to a brazilian magazine called suplemento pe a text about the experience of leaving brazil and coming to berlin and everything that comes along with it (or that goes away…).

for those, i read this essay from edward said, reflections on exile, and found this quotation from a monk from the 12th century, that gave me chicken skin:

the man who finds his homeland sweet is a beginner; he to whom every soil is as his native one is already strong; but he is perfect to whom the entire world is as a foreign land.

perfect.