Vivian Braga dos Santos has a PhD in Art History from the University of São Paulo (USP, Brazil) and researcher at the Institut national d’histoire de l’art (INHA, Paris). Her work examines the relationship between contemporary art, political conflict, history, and memory. Currently, she is focusing on a project about the tensions between contemporary art and conflicts over racial issues in Brazil. Home Reading"Charles Fréger photographs..." More fromWork Contact Advertising Opportunities Newsletters Insights + Opinion Creatives + Projects Advice + Resources Culture + Lifestyle Nicer Tuesdays The View From... POV Forward Thinking Review of the Year Jenny Brewer Olivia Hingley Ellis Tree Elizabeth Goodspeed Liz Gorny Extra Search photographer Charles Fréger embarked on his extensive and ongoing photographic series focusing on the theme of masquerades as a traditional practice integral to indigenous histories The series now consists of three books: Wilder Mann on representations of the mythic figure of the wild man in wintery Europe on the costumes worn by the descendants of former slaves across North and South America The photographs comprising Cimarron document extravagant masquerades across the Americas which represent the histories and ancestries of the African diaspora performed by the living descendants of those who had to establish new communities and identities having escaped from slavery As Charles describes the project: “In a geographical space stretching from the southern United States to Brazil and including fourteen countries I draw up a non-exhaustive inventory of masquerades practised mainly by the descendants of African slaves celebrating the memory of their peers and their unique cultures.” “initially refers to the fugitive slave in the Hispanic colonial world the abolition of slavery and the heroic figure of the person resisting oppression.” This focus casts Cimarron in a slightly different light to the previous two studies which are based in the deeply rooted practises of long-established indigenous communities As Charles says: “the masquerades here have a very different background; they are not related to rural traditions; they do not aim to pray for a good harvest; their roots are to be found elsewhere: in slavery history masquerades unfold into one other so that masks indigenous and colonial cultures are intertwined caught in a vertigo of a syncretic movement spanning several centuries The masquerade is here a territory where one community is confronted by another a space where the relationship with the oppressor is reinvented either to mimic it or to reverse it – and always to subvert it.” is the result of years of research and outreach conducted in collaboration with communities and researchers located in the countries that feature As Charles states: “It is an ongoing dialogue before the departure with the researcher to discuss which traditions interest me which one could echo another or complete it She not only did the research for Columbia and Panama but also worked on the texts explaining each tradition featured in the book.” Charles’ emphasis on a research process that involves anthropologists on the ground and that takes into account the societal and cultural factors at play in the masquerades means that the project transcends aesthetics and connects viewers of the works to the histories and cultural tensions that inform the costumes Speaking of how he establishes a working relationship with the people and communities he photographs Charles says: “I reach out to people through the means of minute research for which I have the collaboration of people on site As I do not want to photograph the people in the context of the carnival or event in which they usually parade which means they dress up specifically for the pictures The pictures are not fast shots – they involve on my side a great deal of travel and arrangements and for the person or group I come to meet and photograph it takes some time as the process is very close to a portrait taken in a studio Once I have found the accurate location for the portrait I work with each of them on their gestures looking for a dialogue between the environment and the character embodied trying to visually enhance the most expressive features in them.” The carnivalesque photographs are stirring and celebratory “caught within a net of political and social meanings” as a visual investigation into masquerade practises delivers a vivid representation of the history of slavery through its effects on sartorial and performative traditions – where the festive expression of inherited culture haunted by the spectre of colonial oppression becomes a way of reclaiming cultural narratives Charles Fréger: Cimarron: Pintao de Barahona Further Infowww.charlesfreger.com Rowe Irvin Rowe joined It’s Nice That in the summer of 2019 as an editorial assistant mainly on hugely talented artists and photographers Fancy a bit of It's Nice That in your inbox Sign up to our newsletters and we'll keep you in the loop with everything good going on in the creative world Instagram TikTok LinkedIn Facebook Twitter Pinterest About Careers at It’s Nice That Privacy Policy Insights Residence Creative Lives in Progress If You Could Jobs © It’s Nice That 2024 · Nice Face Logo © It’s Nice That www.charlesfreger.com Following the release of his debut book, New York Nico’s Guide to NYC the director and documentary filmmaker Nicolas Heller sat down with our US editor at large Elizabeth Goodspeed to discuss the origins of his widely loved Instagram page his career in filmmaking thus far and why he’s intent on capturing the city’s most charismatic characters The photographer’s portraits of Chinese international students in London uncovers the complexities of finding a new place to call home Perhaps the oldest and longest-serving photobooth technician in the world 92-year-old Alan Adler’s 50 years of service to the art of photography has been memorialised in a new book Anchoring herself in the tactile as the world moves further into the digital the LA-based photographer is creating bumpy 3D images that are detailed from afar but completely abstract up close About Contact Advertising Opportunities Newsletters Insights + Opinion Creatives + Projects Advice + Resources Culture + Lifestyle Nicer Tuesdays The View From... POV Forward Thinking Review of the Year Jenny Brewer Olivia Hingley Ellis Tree Elizabeth Goodspeed Liz Gorny Instagram TikTok LinkedIn Facebook Twitter Pinterest Careers at It’s Nice That Privacy Policy Insights Residence Creative Lives in Progress If You Could Jobs Text description provided by the architects. This brand new hotel was recently opened on 2016, in the Azores Islands, Portugal. With 125 rooms, the hotel stands over a oneiric landscape of scopes that cut out the north shore of S.Miguel Island. Our mission was to create an architecture that values its relationship with the landscape. Therefore, the building complex extends horizontally to improve the viewpoints to the north shore as well to the vulcanic massif – known as Lagoa do Fogo - at the south. The hotel incorporates its functional essence and its constructive mission to the environmental values of the Island, using local materials. empirically known for having the four seasons in just one day The local materials – cryptomeria wood and vulcanic basalt stone greatly responds to the site at issue – both climatic as well as territorial You'll now receive updates based on what you follow Personalize your stream and start following your favorite authors If you have done all of this and still can't find the email Uma das bandas mais aclamadas do Rio de Janeiro a El Efecto lança o disco “Memórias do Fogo” no dia 14 de abril (sábado) O show trará no repertório as canções do novo trabalho como também faixas conhecidas do público que interagem com o grupo nesses 16 anos de estrada Os ingressos para o evento já estão sendo vendidos online Inspirado na trilogia de nome parecido escrita por Eduardo Galeano o disco “Memórias do Fogo” é um convite a conhecer e contar histórias O novo trabalho fala sobre a importância de cultivarmos a chama interior seja para transformarmos o que não concordamos O álbum contou com a produção de Patrick Laplan A masterização ficou por conta de Robert Carranza Falar sobre temas de forte teor político é comum nas canções da banda Eles ficaram conhecidos no país graças à canção viral “O Encontro de Lampião com Eike Batista” em que mistura o rock com a literatura de cordel a El Efecto foi indicada como Melhor Grupo de Rock foi considerado um dos três melhores discos do gênero a El Efecto é formada por Tomás Rosati (voz violão e viola) e Eduardo Baker/Pedro Lima (baixo) Open in Spotify Aqui você encontra dicas culturais na cidade do Rio de Janeiro Entre em contato através do contato@rotacult.com.br