“(…) se elas houverem, a gente
vai tirá-las”
[tipicamente português]
mãe, pai, cresci
outra casa, que por acaso é esta
guardador de pássaros
de zhejiang
smog
a deus, a deus
noir | toli
ensaio
just a kid
1/4 de glória
©Emanuel Constantino 2025
“(…) se elas houverem, a gente
vai tirá-las”
[tipicamente português]
mãe, pai, cresci
outra casa, que por acaso é esta
guardador de pássaros
de zhejiang
smog
a deus, a deus
noir | toli
ensaio
just a kid
1/4 de glória
©Emanuel Constantino 2025
ensaio
It is assumed that, through photography, it is difficult to get to the heart of a person's identity and uniqueness; there is always an attempt to reveal a supposed “inner”¹ being. Even more so if they are not even familiar to us.
From the premise of an opposition to comfort, this essay explores the boundaries between what is portrayed and its context, calling into question the construction of truth. Synchronically, in this set, there is both an individualized representation of the musician and the nature that unites them.
¹ Clarke, G. (1997). The Photograph - A Visual And Cultural History
2024
//
The Other Side of the Rehearsal: Photography
The School of Media Arts and Design of the Polytechnic of Porto - ESMAD, P.PORTO - invited three photographers to take part in this public exhibition in an artistic interpretation of the Rehearsal of the musicians of the Off Limits Orchestra, recently created and based in Vila do Coride, challenging them to join in the programming of the exhibition space of the Municipal Theatre of Vila do Conde.
The essay that gave its name to the photography exhibition by Emanuel Constantino, Luís Ribeiro and Sérgio Rolando explores the photographic genre of the portrait in very different and very personal dimensions of those who photograph and those who allow themselves to be photographed. These photographs have a common denominator in the approach to the instrumentalists of a collective, whose voice, cello or transverse flute, among other instruments, complete them, identify them, are a kind of extension of their own bodies as interpreters of a musical composition.
It's an essay by the photographer and the subject. The photographer is looking to find a trace, a gesture, an identity of the artist-musician that can give a little more insight into what music can mean to each of the subjects. The subject takes an active part in the more introspective or relaxed moments between rehearsal performances. Photography acts here in the search for what happens on the other side of the stage, in this case, giving the young performers of the Off Limits Orchestra a leading role.
Olívia Marques da Silva,
march 2024
President of ESMAD/P.PORTO
President of ESMAD/P.PORTO