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  • The last  projection of a movie in the cinema Pierrot in Ponticelli.<br />
<br />
The protagonist of this work it is, at the same time, the main absent: the man.<br />
The man in his social and communal dimension.<br />
The contexts designed and arranged to encourage communication, play, participation, respect, sharing, skills development, become no  - places unable to perform their function. <br />
The silent nature appears the only creature really and irreducibly faithful to the vocation involved in its essence.<br />
Their state of neglect, decay times, recalls the waiver insane man / citizen called, by its nature, to express themselves and build.<br />
The only faces represented are those mediated by the eye of the artist: a film, a stone statue .. as if to say that the true humanity still exists only in the eyes of those who seek beauty.
    9.jpg
  • the last  projection of a movie in the cinema Pierrot in  Ponticelli. <br />
The protagonist of this work it is, at the same time, the main absent: the man.<br />
The man in his social and communal dimension.<br />
The contexts designed and arranged to encourage communication, play, participation, respect, sharing, skills development, become no  - places unable to perform their function. <br />
The silent nature appears the only creature really and irreducibly faithful to the vocation involved in its essence.<br />
Their state of neglect, decay times, recalls the waiver insane man / citizen called, by its nature, to express themselves and build.<br />
The only faces represented are those mediated by the eye of the artist: a film, a stone statue .. as if to say that the true humanity still exists only in the eyes of those who seek beauty.
    16.jpg
  • Project houses in The Bronx, New York.<br />
Public housing in New York were built by NYCHA (New York City Housing Authority) using low cost materials and due to that, the houses get mold, infiltrations and other problems. Living with this environment leads to health diseases such as asthma and other respiratory allergies. As they are public houses, people wait for 2 years to get their houses fixed and as time goes by, the exposure to these fungus leads to an intolerant public health situation. The public houses  are scattered in the city: lower Manhatthan, harlem and the bronx. However, in the Bronx, the situation is a severe issue where the asthma death rate is one of the highest in the city. Living in these houses is living side by side with a "silent murder".
    h_11-IMG_6758-1.jpg
  • Gloria Diaz, 40 years old from Costa Rica. Lives on The Projects in the Lower East Side, New York. Suffers from asthma. <br />
Public housing in New York were built by NYCHA (New York City Housing Authority) using low cost materials and due to that, the houses get mold, infiltrations and other problems. Living with this environment leads to health diseases such as asthma and other respiratory allergies. As they are public houses, people wait for 2 years to get their houses fixed and as time goes by, the exposure to these fungus leads to an intolerant public health situation. The public houses  are scattered in the city: lower Manhatthan, harlem and the bronx. However, in the Bronx, the situation is a severe issue where the asthma death rate is one of the highest in the city. Living in these houses is living side by side with a "silent murder".
    h_16-IMG_5919.jpg
  • Marcio, 8 years old and his mother Ruby Collins. Marcio suffers from asthma and he needs to use the bomb everyday due to infiltrations in his apartment. They live on the Projects in the Bronx, New York. <br />
Public housing in New York were built by NYCHA (New York City Housing Authority) using low cost materials and due to that, the houses get mold, infiltrations and other problems. Living with this environment leads to health diseases such as asthma and other respiratory allergies. As they are public houses, people wait for 2 years to get their houses fixed and as time goes by, the exposure to these fungus leads to an intolerant public health situation. The public houses  are scattered in the city: lower Manhatthan, harlem and the bronx. However, in the Bronx, the situation is a severe issue where the asthma death rate is one of the highest in the city. Living in these houses is living side by side with a "silent murder".
    h_15-IMG_5228.jpg
  • A woman carries a black chicken into St. Bartolomeu church during the Saints celebration. This tradition that dates back to the sixteenth century (1566), and it claims the devil is on the loose during this day. Every year on 24 August  faith and tradition join thousands of people at the feast of St. Bartolomeu do Mar, for ritual that mixes the sacred and the profane.
    h_EL__2010_StBartolomeu_01.jpg
  • A child wears a rosary after the "holy bath" during the St. Bartolomeu celebration. The "holy bath" is believed to drive away evil and cure diseases related with "demonic possession", such as stuttering or epilepsy. This tradition that dates back to the sixteenth century (1566), and it claims the devil is on the loose during this day. Every year on 24 August  faith and tradition join thousands of people at the feast of St. Bartolomeu do Mar, for ritual that mixes the sacred and the profane.
    h_EL__2010_StBartolomeu_07.jpg
  • The grandmother of one of the children is relief that her grandson took a "holy bath".  The "holy bath" is believed to drive away evil and cure diseases related with "demonic possession", such as stuttering or epilepsy. This tradition that dates back to the sixteenth century (1566), and it claims the devil is on the loose during this day. Every year on 24 August  faith and tradition join thousands of people at the feast of St. Bartolomeu do Mar, for ritual that mixes the sacred and the profane.
    h_EL__2010_StBartolomeu_11.jpg
  • Litters with the images of saints rest on the sand during the St. Bartolomeu procession. The procession to thank the Saint incorporates hundreds of extras and large litters, which reconstruct biblical episodes. This tradition that dates back to the sixteenth century (1566), and it claims the devil is on the loose during this day. Every year on 24 August  faith and tradition join thousands of people at the feast of St. Bartolomeu do Mar, for ritual that mixes the sacred and the profane.
    h_EL__2010_StBartolomeu_21.jpg
  • People enjoy a day on the beach during the procession of St. Bartolomeu. The procession to thank the Saint incorporates hundreds of extras and large litters, which reconstruct biblical episodes. This tradition that dates back to the sixteenth century (1566), and it claims the devil is on the loose during this day. Every year on 24 August  faith and tradition join thousands of people at the feast of St. Bartolomeu do Mar, for ritual that mixes the sacred and the profane.
    h_EL__2010_StBartolomeu_24.jpg
  • A couple take a nap during the homily in honour of St. Bartolomeu on the Saints celebraton. This tradition that dates back to the sixteenth century (1566), and it claims the devil is on the loose during this day. Every year on 24 August  faith and tradition join thousands of people at the feast of St. Bartolomeu do Mar, for ritual that mixes the sacred and the profane.
    h_EL__2010_StBartolomeu_25.jpg
  • A child with a ceremonies helper dives into a wave during the St. Bartolomeu celebration. The "holy bath" is believed to drive away evil and cure diseases related with "demonic possession", such as stuttering or epilepsy. This tradition that dates back to the sixteenth century (1566), and it claims the devil is on the loose during this day. Every year on 24 August  faith and tradition join thousands of people at the feast of St. Bartolomeu do Mar, for ritual that mixes the sacred and the profane.
    h_EL__2010_StBartolomeu_08.jpg
  • A child runs in the sea during "holy bath" ritual the St. Bartolomeu celebration. The "holy bath" is believed to drive away evil and cure diseases related with "demonic possession", such as stuttering or epilepsy. This tradition that dates back to the sixteenth century (1566), and it claims the devil is on the loose during this day. Every year on 24 August  faith and tradition join thousands of people at the feast of St. Bartolomeu do Mar, for ritual that mixes the sacred and the profane.
    h_EL__2010_StBartolomeu_12.jpg
  • A man dressed with a womans dress is sprayed water from his friends during the "holy bath" rituals during the St. Bartolomeu ceremonies. The "holy bath" is believed to drive away evil and cure diseases related with "demonic possession", such as stuttering or epilepsy. This tradition that dates back to the sixteenth century (1566), and it claims the devil is on the loose during this day. Every year on 24 August  faith and tradition join thousands of people at the feast of St. Bartolomeu do Mar, for ritual that mixes the sacred and the profane.
    h_EL__2010_StBartolomeu_13.jpg
  • A horseman leads the procession of St. Bartolomeu while people assist on the dunes of the beach in São Bartolomeu do Mar. The procession to thank the Saint incorporates hundreds of extras and large litters, which reconstruct biblical episodes. This tradition that dates back to the sixteenth century (1566), and it claims the devil is on the loose during this day. Every year on 24 August  faith and tradition join thousands of people at the feast of St. Bartolomeu do Mar, for ritual that mixes the sacred and the profane.
    h_EL__2010_StBartolomeu_15.jpg
  • Children play cards during the St. Bartolomeu procession. The procession to thank the Saint incorporates hundreds of extras and large litters, which reconstruct biblical episodes. This tradition that dates back to the sixteenth century (1566), and it claims the devil is on the loose during this day. Every year on 24 August  faith and tradition join thousands of people at the feast of St. Bartolomeu do Mar, for ritual that mixes the sacred and the profane.
    h_EL__2010_StBartolomeu_20.jpg
  • Children dressed as Saints rest during a pause on the St. Bartolomeu procession. The procession to thank the Saint incorporates hundreds of extras and large litters, which reconstruct biblical episodes. This tradition that dates back to the sixteenth century (1566), and it claims the devil is on the loose during this day. Every year on 24 August  faith and tradition join thousands of people at the feast of St. Bartolomeu do Mar, for ritual that mixes the sacred and the profane.
    h_EL__2010_StBartolomeu_22.jpg
  • A woman holding baby Jesus instructs a little girl during the procession of St. Bartolomeu. The procession to thank the Saint incorporates hundreds of extras and large litters, which reconstruct biblical episodes. This tradition that dates back to the sixteenth century (1566), and it claims the devil is on the loose during this day. Every year on 24 August  faith and tradition join thousands of people at the feast of St. Bartolomeu do Mar, for ritual that mixes the sacred and the profane.
    h_EL__2010_StBartolomeu_23.jpg
  • Alicia Moore's bathroom in The Bronx, New York.<br />
Public housing in New York were built by NYCHA (New York City Housing Authority) using low cost materials and due to that, the houses get mold, infiltrations and other problems. Living with this environment leads to health diseases such as asthma and other respiratory allergies. As they are public houses, people wait for 2 years to get their houses fixed and as time goes by, the exposure to these fungus leads to an intolerant public health situation. The public houses  are scattered in the city: lower Manhatthan, harlem and the bronx. However, in the Bronx, the situation is a severe issue where the asthma death rate is one of the highest in the city. Living in these houses is living side by side with a "silent murder".
    h_13-IMG_5488.jpg
  • Public housing in New York were built by NYCHA (New York City Housing Authority) using low cost materials and due to that, the houses get mold, infiltrations and other problems. Living with this environment leads to health diseases such as asthma and other respiratory allergies. As they are public houses, people wait for 2 years to get their houses fixed and as time goes by, the exposure to these fungus leads to an intolerant public health situation. The public houses  are scattered in the city: lower Manhatthan, harlem and the bronx. However, in the Bronx, the situation is a severe issue where the asthma death rate is one of the highest in the city. Living in these houses is living side by side with a "silent murder".
    h_08-IMG_6801.jpg
  • Public housing in New York were built by NYCHA (New York City Housing Authority) using low cost materials and due to that, the houses get mold, infiltrations and other problems. Living with this environment leads to health diseases such as asthma and other respiratory allergies. As they are public houses, people wait for 2 years to get their houses fixed and as time goes by, the exposure to these fungus leads to an intolerant public health situation. The public houses  are scattered in the city: lower Manhatthan, harlem and the bronx. However, in the Bronx, the situation is a severe issue where the asthma death rate is one of the highest in the city. Living in these houses is living side by side with a "silent murder".
    h_04-IMG_4927.jpg
  • Public housing in New York were built by NYCHA (New York City Housing Authority) using low cost materials and due to that, the houses get mold, infiltrations and other problems. Living with this environment leads to health diseases such as asthma and other respiratory allergies. As they are public houses, people wait for 2 years to get their houses fixed and as time goes by, the exposure to these fungus leads to an intolerant public health situation. The public houses  are scattered in the city: lower Manhatthan, harlem and the bronx. However, in the Bronx, the situation is a severe issue where the asthma death rate is one of the highest in the city. Living in these houses is living side by side with a "silent murder".
    h_01-IMG_5291.jpg
  • Barcelona. Skull projection in a night club.
    DavidMolinaHeroes-11.jpg
  • 08/09/2015 - Lisbon, Portugal: Founder of Lata 65 project, Lara Seixo Rodrigues, 36, with street artist Adres (Adrião Resende), 33, who helps during the workshops. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_22.jpg
  • 08/09/2015 - Lisbon, Portugal: Luisa Cortesão, 65, a retired doctor, using a stencil to paint the wall during a Lata 65 workshop. Luisa was one of the first participants of the project Lata 65. Today she helps organizing other workshops and in her spare time she graffitis some walls with her grandaughters. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_18.jpg
  • 07/09/2015 - Lisbon, Portugal: Luisa Cortesão, 65, a retired doctor, was one of the first participants of the project Lata 65. Today she helps organizing other workshops and in her spare time she graffitis some walls with her grandaughters. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_02.jpg
  • Issufo Pontina is 33 years old and he is from Mozambique; today he works in the “Comunitá di Sant’Egidio” in the project “DREAM” which try to guarantee dignity and medications to the prisoners of the several jails of Maputo. Before becoming an NGO worker, Issufo has also been a prisoner in the maximum-security jail of Maputo. In 2001 the first wife of Issufo dies for a haemorrhage and he is suddenly charged of murder and immediately gaoled. During the confinement, Issufo made friendship with a priest working in the jail that, once he listened Issufo’s story and beliving Issufo was innocent, start to help Issufo and push the authority to perform an autopsy to the death wife. The autopsy reveals that the woman was died for natural causes but also reveal she was HIV positive. After 1 year and 8 months of jail (and always without a trial) Issufo was released and he started working for the NGO “Comunitá di Sant’Egidio” in the “DREAM” project with the aim to help the HIV positive convicted.
    h_00011834.jpg
  • Issufo Pontina is 33 years old and he is from Mozambique; today he works in the “Comunitá di Sant’Egidio” in the project “DREAM” which try to guarantee dignity and medications to the prisoners of the several jails of Maputo. Before becoming an NGO worker, Issufo has also been a prisoner in the maximum-security jail of Maputo. In 2001 the first wife of Issufo dies for a haemorrhage and he is suddenly charged of murder and immediately gaoled. During the confinement, Issufo made friendship with a priest working in the jail that, once he listened Issufo’s story and beliving Issufo was innocent, start to help Issufo and push the authority to perform an autopsy to the death wife. The autopsy reveals that the woman was died for natural causes but also reveal she was HIV positive. After 1 year and 8 months of jail (and always without a trial) Issufo was released and he started working for the NGO “Comunitá di Sant’Egidio” in the “DREAM” project with the aim to help the HIV positive convicted.
    h_00011827.jpg
  • Baiano, in the right, whose name is Alessandro, performs a Beija Flor, a Capoeira movement. Baiano is a self-taught designer and Master of Capoeira, an afro-brazilian martial art that joins dance and fight. He coordinates a social project in Esperança Occupancy, Isidoro area, whose objective is integrates all community through sports. As a low-income initiative, all structure, musical instruments and uniforms are donated or achieved by community effort.
    dm-isidoro-011.jpg
  • Mentees performing a Capoeira movement in a social project in Esperança Occupancy, Isidoro area.
    dm-isidoro-010.jpg
  • 08/09/2015 - Lisbon, Portugal: António Rodrigues, 72, after Lata 65 workshop. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_24.jpg
  • 08/09/2015 - Lisbon, Portugal: Olinda Rodrigues, 66, in front of the wall that was painted during the Lata 65 workshop. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_23.jpg
  • 08/09/2015 - Lisbon, Portugal: Lurdes Silva, 80, painting a stecil with her hand  during the Lata 65 workshop. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_21.jpg
  • 08/09/2015 - Lisbon, Portugal: Aida Alves, 76, looking for a colour to paint her flowers on the wall of Lata 65 workshop. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_20.jpg
  • 08/09/2015 - Lisbon, Portugal: Isaura Santos Costa, 90, using a stencil with the shape of her hand during the Lata 65 workshop. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_19.jpg
  • 08/09/2015 - Lisbon, Portugal:Olinda Rodrigues, 66, looks for a different stencil, while other participants of Lata 65 paint the wall. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_17.jpg
  • 08/09/2015 - Lisbon, Portugal: António Rodrigues, 72, checks his stencil, while other participants of Lata 65 paint the wall. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_16.jpg
  • 08/09/2015 - Lisbon, Portugal: A stencil with the name of Aida on the wall during a Lata 65 workshop. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_15.jpg
  • 08/09/2015 - Lisbon, Portugal: António Rodrigues, 72, using a stencil to paint a fish on the wall during a Lata 65 workshop. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_14.jpg
  • 08/09/2015 - Lisbon, Portugal: Maria Manuela Graça, 59, paints a wall during the Lata 65 workshop. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_12.jpg
  • 08/09/2015 - Lisbon, Portugal: Aida Alves, 76, with a can during the Lata 65 workshop. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_13.jpg
  • 08/09/2015 - Lisbon, Portugal: António Rodrigues, 72, paints a wall during the Lata 65 workshop. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_10.jpg
  • 08/09/2015 - Lisbon, Portugal: Isaura Santos Costa, 90, and Olinda Rodrigues, 66, paint a wall during the Lata 65 workshop. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_11.jpg
  • 08/09/2015 - Lisbon, Portugal: Lara Seixo Rodrigues, 36, explains to the participants of the Lata 65 workshop on how to use a paint can before they paint the wall. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_09.jpg
  • 08/09/2015 - Lisbon, Portugal: Maria Manuela Graça, 59, cuts her stencil before going to paint a wall during the Lata 65 workshop. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_08.jpg
  • 08/09/2015 - Lisbon, Portugal: Isaura Santos Costa, 90, cuts her stencil during the workshop before painting a wall. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_06.jpg
  • 08/09/2015 - Lisbon, Portugal: Street artist Adres (Adrião Resende), 33, tries to motivate Lurdes Silva, 80,  by helping her in the drawing process. Mrs, Silva was not interested in the workshop in the beginning but by the end she was really interested in painting the wall. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_07.jpg
  • 07/09/2015 - Lisbon, Portugal: Lara Seixo Rodrigues, discuss with Lurdes Silva 80, which stencil they will use next during the workshop Lata 65. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_04.jpg
  • 08/09/2015 - Lisbon, Portugal: Participants on the Lata 65 worshop cut their stencils before painting a wall.  Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_05.jpg
  • 07/09/2015 - Lisbon, Portugal: Isaura Santos Costa, 90, during the workshop Lata 65. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_03.jpg
  • 07/09/2015 - Lisbon, Portugal: Lara Seixo Rodrigues (36) shows some examples of street art to Aida Alves (76) during an workshop of Lata 65 in Arroios, Lisbon. Lata 65 was project created by Lara Seixo Rodrigues and is a creative workshop teaching street art to senior citizens. (Eduardo Leal)
    EL__2015_Graffiti Grannies_01.jpg
  • PMM150309#Margarida, 37 years old.<br />
She works in a Association related with the Defs inside the professional field, as a psychologist.<br />
"After passing through a difficulty we learn one more lesson", that her life sentence.<br />
Because what makes them a union is less then what puts them outside the social field, Margarida is one of the beginners and co-founder of a project to create the first association regarding people bornt with dwarfism in Portugal.
    h_00005631.jpg
  • PMM150309#Margarida, 37 years old.<br />
She works in a Association related with the Defs inside the professional field, as a psychologist.<br />
"After passing through a difficulty we learn one more lesson", that her life sentence.<br />
Because what makes them a union is less then what puts them outside the social field, Margarida is one of the beginners and co-founder of a project to create the first association regarding people bornt with dwarfism in Portugal.
    h_00005603.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005870.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005869.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005868.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005867.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005866.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005865.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005864.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005863.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005862.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005861.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005860.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005859.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005858.jpg
  • Casa da Musica was conceived to mark 2001, the year in which Porto was Cultural Capital of Europe. The project started in 1999 after the Rem Koolhaas & Ellen van Loon - Office for Metropolitan Architecture won the international architectural competition. Work began in 1999 near Rotunda da Boavista, Porto and Casa da Musica opened its doors to the public on April 15th, 2005.
    h_00005857.jpg
  • Ninja Miners,<br />
Project about gold mining in Mongolia.<br />
Mongolians with different professions and life levels go to  mining sites in rural areas to look for gold during the summer, earning an average of 6 US Dolars per day.<br />
Ulan Bulac, August 2009, Western Mongolia
    h_00017169.jpg
  • Ninja Miners,<br />
Project about gold mining in Mongolia.<br />
Mongolians with different professions and life levels go to  mining sites in rural areas to look for gold during the summer, earning an average of 6 US Dolars per day.<br />
Ulan Bulac, August 2009, Western Mongolia
    h_00017168.jpg
  • Ninja Miners,<br />
Project about gold mining in Mongolia.<br />
Mongolians with different professions and life levels go to  mining sites in rural areas to look for gold during the summer, earning an average of 6 US Dolars per day.<br />
Ulan Bulac, August 2009, Western Mongolia
    h_00017166.jpg
  • Ninja Miners,<br />
Project about gold mining in Mongolia.<br />
Mongolians with different professions and life levels go to  mining sites in rural areas to look for gold during the summer, earning an average of 6 US Dolars per day.<br />
Ulan Bulac, August 2009, Western Mongolia
    h_00017164.jpg
  • Ninja Miners,<br />
Project about gold mining in Mongolia.<br />
Mongolians with different professions and life levels go to  mining sites in rural areas to look for gold during the summer, earning an average of 6 US Dolars per day.<br />
Ulan Bulac, August 2009, Western Mongolia
    h_00017163.jpg
  • Ninja Miners,<br />
Project about gold mining in Mongolia.<br />
Mongolians with different professions and life levels go to  mining sites in rural areas to look for gold during the summer, earning an average of 6 US Dolars per day.<br />
Ulan Bulac, August 2009, Western Mongolia
    h_00017162.jpg
  • Ninja Miners,<br />
Project about gold mining in Mongolia.<br />
Mongolians with different professions and life levels go to  mining sites in rural areas to look for gold during the summer, earning an average of 6 US Dolars per day.<br />
Ulan Bulac, August 2009, Western Mongolia
    h_00017161.jpg
  • Ninja Miners,<br />
Project about gold mining in Mongolia.<br />
Mongolians with different professions and life levels go to  mining sites in rural areas to look for gold during the summer, earning an average of 6 US Dolars per day.<br />
Ulan Bulac, August 2009, Western Mongolia
    h_00017159.jpg
  • Ninja Miners,<br />
Project about gold mining in Mongolia.<br />
Mongolians with different professions and life levels go to  mining sites in rural areas to look for gold during the summer, earning an average of 6 US Dolars per day.<br />
Ulan Bulac, August 2009, Western Mongolia
    h_00017156.jpg
  • Ninja Miners,<br />
Project about gold mining in Mongolia.<br />
Mongolians with different professions and life levels go to  mining sites in rural areas to look for gold during the summer, earning an average of 6 US Dolars per day.<br />
Ulan Bulac, August 2009, Western Mongolia
    h_00017158.jpg
  • Ninja Miners,<br />
Project about gold mining in Mongolia.<br />
Mongolians with different professions and life levels go to  mining sites in rural areas to look for gold during the summer, earning an average of 6 US Dolars per day.<br />
Ulan Bulac, August 2009, Western Mongolia
    h_00017152.jpg
  • Ninja Miners,<br />
Project about gold mining in Mongolia.<br />
Mongolians with different professions and life levels go to  mining sites in rural areas to look for gold during the summer, earning an average of 6 US Dolars per day.<br />
Ulan Bulac, August 2009, Western Mongolia
    h_00017155.jpg
  • Ninja Miners,<br />
Project about gold mining in Mongolia.<br />
Mongolians with different professions and life levels go to  mining sites in rural areas to look for gold during the summer, earning an average of 6 US Dolars per day.<br />
Ulan Bulac, August 2009, Western Mongolia
    h_00017151.jpg
  • Project about migrants and their daily life in Lisbon city center - Martim Moniz
    h_00017145.jpg
  • Project about migrants and their daily life in Lisbon city center - Martim Moniz
    h_00017144.jpg
  • Project about migrants and their daily life in Lisbon city center - Martim Moniz
    h_00017141.jpg
  • Project about migrants and their daily life in Lisbon city center - Martim Moniz
    h_00017137.jpg
  • Project about migrants and their daily life in Lisbon city center - Martim Moniz
    h_00017133.jpg
  • Project about migrants and their daily life in Lisbon city center - Martim Moniz
    h_00017134.jpg
  • Project about migrants and their daily life in Lisbon city center - Martim Moniz
    h_00017132.jpg
  • Project about migrants and their daily life in Lisbon city center - Martim Moniz
    h_00017131.jpg
  • Project about migrants and their daily life in Lisbon city center - Martim Moniz
    h_00017130.jpg
  • Project about migrants and their daily life in Lisbon city center - Martim Moniz
    h_00017128.jpg
  • João António, hunter, 87 years old.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_28.jpg
  • Luis Orvalho giving a speech with safety rules before the hunt. <br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_30.jpg
  • Hunting landscape. <br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_31.jpg
  • João Pedro Pereira, 19 years old, first time killer of wild animal. Hunting initiation ritual. <br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_29.jpg
  • Hunting association, Casa do Povo da Amieira do Tejo.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_26.jpg
  • Hunted deer on hold for review by the veterinary team.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_27.jpg
  • Antonio Alves, forest ranger.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_22.jpg
  • Hunted deer. <br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_24.jpg
  • At the end of day collecting hunted deers and fawns in a private estate.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_23.jpg
  • Paula Simões with two partridges.<br />
<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_20.jpg
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