Photography and Heritage
Photography, since its very beginning, has been a major instrument in the struggle to preserve and promote cultural heritage. This course proposes to expand insights on the history and practice of photographic processes used to determine the nature and urgency of the preservation and restoration of historic sites, and to captivate public awareness. Using the city of Évora as a case study and exercise grounds, the course will combine theory and practice to improve the skills of the participants who will photograph and prepare a group presentation.
Target: to provide architects, historians, photographers and cultural activists with essential tools for the development of their photographic concepts and skills.
- Missions Héliographiques, France (1851)
- Arquitectura Popular em Portugal (1966)
- New Topographics, USA (1975).
- What is cultural heritage?
- Patrimoine, patrimony, património?
- The influence of photography in restoration and preservation.
- Digital and HDR
- Photo libraries
- Blogs and sites, the use of social media
- Hands on photography in the streets and monuments of Évora
- Individual and group reviews
- Recommended equipment:
- Digital camera with wide angle lens
- Computer with photo editing software: Lightroom, Gimp or Photoshop
10 to 12 participants. Group sizes are purposely limited so that you will receive the personal attention and instant feedback only possible in this type of small group setting.
May 29 to June 5, 2016
Casa Morgado do Esporão
Residência das Artes, Ciências e Humanidades
Rua Dona Isabel 6
Send one PDF file with 3 small (1200 px long dimension max.) photographs, an explanation on how the course will benefit your research and/or work, and a short CV to email@example.com. Applications must be received no later than March 30, 2016. Applications will be evaluated based on the relevance of the course to the candidate’s work. Successful candidates will be informed before April 7, 2016.
The course fee is €600, to be paid by April 15, 2016, ideally by bank transfer. The fee covers the lectures, the course material, and snacks over the coffee break.
If you wish to cancel your participation in this course, cancellations up to 20 days before the course start date will incur a 30% cancellation fee. For later cancellations, or non-attendance, the full course fee will be charged. In the unlikely event that the course is cancelled due to unforeseen circumstances, accepted candidates will either be entitled to a full refund of the course fee, or the fee can be credited towards a future course. The organisation is not responsible for travel costs, or any other expenses incurred by the candidate as a result of such cancellation. Every effort will be made to avoid the cancellation of the planned course.
Unfortunately we do not provide internal grants for this course.
Hands-on, personalised training
The Walls Made of History course is interactive and practical. Practical advise will be provided during field work. Participants may request one-on-one chats with Pedro Lobo to discuss their individual projects.
The instruction will be in English. Individual conversations can be held in English or Portuguese.
Certificates of attendance will be provided.
Who is Pedro Lobo?
Photographer and researcher for the National Center for Cultural Reference – CNRC and for the Institute for National Historical and Artistic Heritage – IPHAN (Brazil, 1978-1995), where he was responsible for the photographic documentation for the inclusion of Brazilian historical sites (Olinda, Ouro Preto, Salvador, Santuário de Bom Jesus de Matosinhos and São Miguel das Missões) in UNESCO’s World Heritage List. Pedro Lobo uses architecture photography to portray the human condition and to discuss memory and preservation. His work has been seen in solo and group exhibitions in museums and galleries in Belgium, Brazil, China, Colombia, Denmark, Germany, Portugal and the USA and is included in several museum and private collections. He is a CAPES-Fulbright scholar (1985/6), has received the V Premio Marc Ferrez (1993) award and the Vitae Photography scholarship (2002).
- “EarthTime”, 5th Marc Ferrez Photography Prize, InFOTO Gallery, FUNARTE, Rio de Janeiro, Brazil, 1993
- “Depth,Breadth and Height” – solo show at the Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil, 1995
- “Hidden Memories – Budapest”, 1998
- “Popular Architecture of Rio de Janeiro”, Vitae Foundation Photography Scholarship, 2002/3
- “Morro Labirinto”, Brazilian and German artists collective show, Paço Imperial, RJ and ICBRA, Berlin, Germany, 2002
- “Favelas – survival strategies”, with Severino Silva, Aarhus Festival, Denmark, 2002 and FotoRio/Comunidade de Rio das Pedras, Rio de Janeiro, Brazil, 2003
- “São Paulo – 450 years”, Veja Magazine, São Paulo, Brazil, 2004
- “Serra/Cerrado”, curated by Sonia Salcedo and Neno del Castillo, collective, Contemporary Gallery of the Imperial Museum, Petrópolis, Brazil, 2004
- “Imprisoned Spaces – Carandiru Penitentiary”, individual, curated by Christopher Rauschenberg and Juan Gaviria, Blue Sky Gallery, Portland, USA, 2005 and Centro Colombo Americano, Medellín, Colombia, 2006
- “Favelas: Architecture of Survival” – 1st prize TOPS IN International Photo Festival, Shenyang, China, 2008
- “Favelas: arquitectura de sobrevivência”, individual, Museu Municipal de Estremoz Prof Joaquim Vermelho, Museu Regional de Beja, Instituto Politécnico de Portalegre and Galeria 3+1 Lisboa, Portugal, 2009
- “Architecture of Survival” – curated by Mark Long (College of Charleston) and Mark Sloan (Halsey Institute of Contemporary Art), individual, City Gallery at Waterfront, Charleston, SC, USA, 2010, UNC Charlotte’s Center City, Projective Eye Gallery | CoA+A, NC, USA, 2013.
- “In Nomine Fidei” – curated by Dieter Jaenicke, individual, Hellerau European Center for the Arts, Dresden, Germany, 2011.
- “Extremes”, collective, curated by Rosely Nakagawa and Guy Veloso, Europalia, Musée de Beaux Arts, Brussels, Belgium, 2011
- “Espaços Aprisionados”, curated by Miguel Rio Branco, individual, Galeria 1500 Babilonia, Rio de Janeiro, Brazil, 2015