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CARLOS CARVALHOARTE CONTEMPORÂNEA
Preview day November 10th, 2021
Public Days November 11-14th, 2021
1pm - 8pm from Thursday 11th to Saturday 13th 1pm - 7pm on Sunday 14th
Grand Palais Ephémère Champ-de-Mars
Place Joffre 75007 Paris
For Paris Photo 2021, Carlos Carvalho will highlight the work of 4 female photographers’ thinking about how women contributions behind the lens have often been overlooked throughout history. Carla Cabanas interventions on family albums exposes the cracks through the use gold leafs, valuing the flaws and physical changes in the objects caused by time or accidents. Marguerite Bornhauser wanders through reality looking for narratives among seemingly random scenes showing them as a play between shadows and textures and where objects and bodies merge to almost become abstract. Mónica de Miranda focus on communities in exclusion that live in the outskirts of the city. By presenting them in staged movements she shows a feeling of alienation in the characters in contrast to the space in which they are inserted. Jessica Backhaus makes visible the delicate and poetic reality. Her photographs are deep emotional studies that capture moments moved by the spirit and where the transience of things hide a contemplative and subtle beauty.
Carla Cabanas Born 1979 in Lisbon, Portugal.
Carla Cabanas’ artistic work is permeated by her wonderings about how we come to build our own identity; how experiences, even the more prosaic ones, are inscribed in the fabric of our existence and how memory consolidates our personal narratives. 2017), “A mecânica da ausência” (curated by Sérgio Fazenda Rodrigues, Cooperativa de Comunicação e Cultura, Torres Vedras. 2016), "Celtis Australis L.” (curated by Lourenço Egreja, Carpe Diem Arte e Pesquisa, Lisbon. 2015), ”Palavra Arquivada" (curated by Sofia Castro, Arquivo Municipal de Lisboa - Núcleo Fotográfico, Lisbon. 2014), “O que ficou do que foi – O álbum Martim Moniz” (Museu da Cidade, Lisbon. 2014), “Saudades e lagrimas são o unico lenitivo para a grande auzencia” (Carlos Carvalho - Arte Contemporânea, Lisbon. 2013), and in group exhibitions such as “Wait” (curated by Orlando Franco, Museu Coleção Berardo, Lisbon), "Variations Portugaises", Abbaye Saint Andre - Centre D'art Contemporain, Meymac, France, “O Tempo Inscrito - Memória, Hiato e Projecção", quArtel da Arte Contemporânea de Abrantes - Coleção Figueiredo Ribeiro, Abrantes, "Prelude to a Landscape", curated by Martim Dias, Carlos Carvalho - Arte Contemporânea, Lisbon, ”Quid Pro Quo” (curated by Martim Días, Panal 361, Buenos Aires, Argentina. 2017), ”EXiM 2016, Portugal and Macao Experimental Video Festival”, (curated by José Drummond and Bianca Lei, Ox Warehouse, Macau, China, 2016), “Past Continuous” (curated by Mariana Gaspar, Inter.meada - Residências Artísticas, Espaço Adães Bermudes, Alvito, 2016), "Walking on the Clouds” (curated by Margarida Medeiros, Casa-Museu Medeiros e Almeida, Lisbon, 2016),”Contra o Esquecimento", (Coletiva de Fotografia Portuguesa, curated by Ângela Ferreira, Museu da Cultura Cearense do Centro Dragão do Mar de Arte e Cultura (CDMAC), Brasil 2013),”7ª BIENAL INTERNACIONAL DE SÃO TOMÉ E PRÍNCIPE | 2013", no Espaço CACAU, São Tomé e Príncipe 2013),- FUSO - Anual de Video Arte Internacional de Lisboa, Fundação EDP, Lisboa 2013). Carla Cabanas’ works are held in many public collections, including those of the LPS Collection (Stanislas y Leticia Poniatowski), BES - Art_Colecção Banco Espírito Santo”, Lisbon., P.L.M.J. Collection, Lisbon., Banque Privée Edmond de Rothschild Europe Collection, Lisbon and Marín Gaspar Collection, The National Museum of Art, Washington, EUA and Fundación Kells, Santander, Spain.
The project “I don’t trust myself when I’m sleeping”, currently with two parts, gives continuity to the artist’s enquiries about the places of memory and photography in the construction of identity narratives. Using photographs from family albums bought at flea markets, as is already customary in her practice, the artist finds in them the ideal support to mould the images and characters of her personal history, images that cross the barriers of sleep and wakefulness, experience and memory. In addition to the usual affection with which Carla Cabanas treats the anonymous photographs that she uses in her work, this time she also introduces irony and satire, in the way she stripes and obliterates parts of the original image, populating them with new characters and new senses. In this series “I don’t trust myself when I’m sleeping II”, in addition to scratching the images with the scalpel, Cabanas experiments with gold leaf, inspired by the Japanese restoration technique Kintsugi, about which she acquired practical knowledge in 2017. Kintsugi is a century-old method of ceramic repair, which consists of gluing the broken piece with Urushi natural lacquer and covering the cracks resulting from the gluing with gold. The aim, in making these cracks evident, is to give value to faults and physical changes in objects, caused by time or accidents. In a society obsessed with hiding its weaknesses and fixing a perfect image of itself, even if erroneous, the artist directs her focus to the opposite, summoning the difficult moments of her life as inspiration. As if, by applying gold to her torn drawings, she is softening her ghosts, accepting and even valuing their vulnerabilities and wounds.
Carla Cabanas I don't trust myself when I'm sleeping II - Sometimes it's so hard to see. , 2021
Intervention and gold leaf (22K) on color photographs; 20x24,4cm 20x24,4cm (60 x 70cm (framed])
Carla Cabanas I don't trust myself when I'm sleeping II - What is wrong with me? , 2021
Intervention and gold leaf (22K) on color photographs; 20x24,4cm (60 x 70cm (framed])
I don't trust myself when I'm sleeping II - Don't do this! , 2021Intervention and gold leaf (22K) on color photographs; 20x24,4cm (60 x 70cm (framed])
Carla CabanasI don't trust myself when I'm sleeping II - Beware of the snakes, 2021
Intervention and gold leaf (22K) on color photographs; 44 x 48,8 cm (framed)
Carla CabanasI don't trust myself when I'm sleeping II -I recall a childhood dream, 2021
Intervention and gold leaf (22K) on color photographs; 44 x 48,8 cm (framed)
Marguerite Bornhauser Born in 1989, Paris, France
Her work has been shown at the museum of European Photography in Paris and Paris Photo in 2019, in the streets of Cincinnati for the Cincinnati Art museum, in Arles during the festival of Photography, in Deauville during the Festival Planches Contact, at BETC agency, Agnès B, in the festival MAP Toulouse, in London, etc. Marguerite Bornhauser adds editorial work to her photographic research. Her first book, Plastic Colors, was selected among the finalists of the first book award of Mack books in 2015 and published in 2017. Her book "8" was published by Poursuite in 2018. In 2019 she published Red Harvest with the same publisher. She also collaborates with french and international magazines and newspapers as a photoreporter and portrait photographer as well as a fashion photographer.Red Harvest, Poursuite Editions, 2019, 8, Poursuite Editions, 2018, Plastic Colors, Les Editions du Lic, 2017, Carnet de Résidence du Hameau des Baux, Poursuite Editions, 2017, Fisheye photobook, 2017, 8, Self published, 2016, Festival de créations photographiques à Deauville Edition 6, Filligranes Editions, 2015, Echappées Belles, Edition Diaphane, 2015, Plastic Colors, Self published, January 2015. In 2020 she won the Photo London x Nikon Emerging Photographer of the Year Award.
“The overall effect of Bornhauser’s practice (…) is to remind us of the way in which colour can echo, not only from one image to another, but from one place, or one moment in time, to another. Colour as subject-matter, or rather, colour as a means of producing photographic representations of the real world that surpass the sum of their parts, becomes a kind of psychological projection into or onto the everyday. In a sense this is why Bornhauser has so much in common with writers like Hammett, painters like Henri Matisse, or theorists like Gaston Bachelard, each of whom were sensitive to colour in their own unique and personal way. More in common, one could say, with pictorial or linguistic abstractions derived or drawn from colour, than with other photographers for whom colour is simply a technical issue to be resolved and exploited. In her most recent work, moreover, Bornhauser has sought to engage not only with colour within the visual field but in the process of producing photographs as objects in the world. From sumptuous Cibachrome prints (for many, the holy grail of colour photographic reproduction) to new experiments with moving image and printing on fabrics, Bornhauser has taken the practice of re-showing the world around us as a brighter and more beautiful place to the next level in the terms by which her images occupy space, while never straying far from the unique truths at the heart of the way that only she sees things." SIMON BAKER Director, MEP, Paris
Marguerite Bornhauser Untitled, When Black is Burned, 2021
Fujiflex Prints mounted on dibond 2mm. Natural wooden frame, 60x40 cm.
Marguerite Bornhauser Untitled, When Black is Burned, 2021
Fujiflex Prints mounted on dibond 2mm. Natural wooden frame, 60x40 cm.
Marguerite Bornhauser Untitled, When Black is Burned, 2021
Fujiflex Prints mounted on dibond 2mm. Natural wooden frame, 60x40 cm.
Marguerite Bornhauser Untitled, When Black is Burned, 2021
Fujiflex Prints mounted on dibond 2mm. Natural wooden frame, 60x40 cm.
Marguerite Bornhauser Untitled, When Black is Burned, 2021
Fujiflex Prints mounted on dibond 2mm. Natural wooden frame, 60x40 cm.
Marguerite Bornhauser Untitled, When Black is Burned, 2021
Fujiflex Prints mounted on dibond 2mm. Natural wooden frame, 120x80 cm.
Marguerite Bornhauser Untitled, When Black is Burned, 2021
Fujiflex Prints mounted on dibond 2mm. Natural wooden frame, 120x80 cm.
Mónica de MirandaBorn 1977 in Porto, Portugal. Mónica is an artist and researcher. Her work is based on themes of urban archaeology and personal geographies. She exhibits regularly and internationally since 2004 being nominated for Prix Pictet Photo Award (2016), Novo Banco Photo Prize (2016) and EDP New Artist prize (2019). Her solo exhibitions include: “Taxidermy of the Future” (Museu de História Natural de Luanda, Angola, 2020), “Tomorrow is Another Day” (Carlos Carvalho Arte Contemporânea, Lisboa, 2018),“Panorama” (Banco Económico de Luanda, Luanda, 2019;“Hotel Globo” (Museu Nacional de Arte Contemporânea do Chiado, Lisboa, 2015), “Arquipélago” (Galeria Carlos Carvalho, Lisboa, 2014). Her collective exhibitions include: Fotofest Biennial 2020, Houston, EUA, “Utopía y Distopias en el paisaje contemporáneo”, (MAAC, Guayaquil, Equador, 2019), “Taxidermy of the Future” (Bienal de Lumbumbashi, Congo, 2019), “EDP New Artists Prize”, (MAAT, Lisbon, Portugal, 2019), “Fiction and Fabrication. Photography of Architecture after the Digital Turn”, (MAAT. Lisbon, Portugal, 2019), “Doublethink: Doublevision” (Pera Museum, Istambul, Turkey, 2017), “Daqui Pra Frente” (CAIXA Cultural. Rio de Janeiro, Brazil), “Le jour qui vient" (Galerie des Galeries, Paris, France, 2017), “Arte Africana Contemporânea e Estética das Traduções” (Bienal de Dakar, Dakar, 2016); “Bienal Internacional de Arte Contemporânea de Casablanca” (Casablanca, Marrocos, 2016), “Addis Foto Fest” (Addis Abeba, 2016), “Telling Time” (Rencontres de Bamako Bienal Africaine de la Photographie edição 10 éme, Bamako, 2015); “Ilha de São Jorge” (14ª Arquitectural de Veneza, 2014); “Linha de Armadilha” (São Tomé e Príncipe Biennial, 2013), “Do you Hear Me?” (Estado do Mundo, Fundação Calouste Gulbenkian, Lisboa, 2008); Her work is represented in private and public collections such as Fundação Calouste Gulbenkian. Portugal, Museu Nacional de Arte Contemporânea do Chiado (MNAC). Portugal, Arquivo Municipal de Lisboa. Portugal and Centro Cultural de Lagos.
“In 1899 this fortified line was called the Lisbon Trench Camp; only much later, at the end of the 1990s, was it deactivated. The wall perimeter (observable in the pyrography, the piece called Military road) consists of a circular line going around the north side of the capital and along a large portion of the south bank. That was Miranda’s itinerary for her research. The artist visited crumbled-down forts, and others that still stand — São Julião da Barra being one of them — with an aim of offering an existence in the present tense to a few of these war structures. Along her itinerary, Miranda encountered the inhabitants — communities, mostly African, who through the decades cemented their presence in an act of defiance, also self determination, creating roots along the fort line, and preserving their cultural heritage while also sharing it with other communities. South circular is a multi-voiced choir singing of a tension between memory, nostalgia and the urgency that tints our modern view of the city and its inhabitants — there are the “legitimate” dwellers, and then the outsiders. “ JOÃO SILVÉRIO Art Curator, Lisbon, Portugal
Mónica de Miranda Black Knight, 2019
Inkjet printing on cotton paper, 80x240 cm
Mónica de Miranda Reading Circles, 2019
Inkjet printing on cotton paper, 80x240 cm
Mónica de Miranda 6 de Maio, 2019
Inkjet printing on cotton paper, 80x240cm
Mónica de Miranda Untitled, City-scapes, 2017
Inkjet printing on cotton paper, 70 x 105 cm
Jessica Backhaus Cuxhaven, Germany, 1970 Jessica Backhaus was born in Cuxhaven, Germany in 1970 and grew up in an artistic family. At the age of sixteen, she moved to Paris, where she later studied photography and visual communications. Here she met Gisele Freund in 1992, who became her mentor. In 1995 her passion for photography drew her to New York, where she assisted photographers, pursued her own projects and lived until 2009.
Jessica Backhaus is regarded as one of the most distinguished voices in contemporary photography in Germany today. Her work has been shown in numerous solo and group exhibitions, including the National Portrait Gallery, London, and the Martin-Gropius-Bau, Berlin, MARTa Herford and the Kunsthalle Erfurt. To date, she has ten publications to her name; Jesus and the Cherries, 2005, What Still Remains, 2008, One Day in November, 2008, I Wanted to See the World, 2010, One day – 10 photographers, 2010, Once, still and forever, 2012, Six degrees of freedom, 2015, A TRILOGY, 2017, Far away but close, 2019 and Cut Outs, 2021. All books are published by Kehrer Verlag, Heidelberg except Far away but close that was published by Another Place Press, Scotland.Her work is also featured in the book: Women Photographers by Boris Friedewald (Prestel Verlag 2014 and 2018).
Her photographs are in many prominent art collections including Taunus Sparkasse, Germany, Art Collection Deutsche Börse, Germany, ING Art Collection, Belgium, Collection of the Museum of Fine Arts, Houston, USA and the Margulies Collection, Miami, USA.
“As writers, we admire the art of photographers - so close to reality and at the same time enigmatically personal. We are amazed by its dance, interwoven in the movement of ebbing lights and shadows; its suggestive presence hitting us in a single gush: that touch of revelation, atmosphere and color that merge us affectively with the image. Not unlike the photo, we succumb to the poem, with its brief and paused breaths. Through half-closed eyelids we are witness to the plenitude of the moment, which invites us to simultaneously see and feel the familiar contours that are engraved in our daily lives. Presence, image, and suggestion: art's sacred trinity is embodied with such generous concentration in these images by Jessica Backhaus, who we as Chileans should thank for making so exquisitely visible, what we are too distracted to notice. The power of the color that portrays and crowns the subject, provokes the sensation that we are seeing something we see every day but haven’t actually seen before. Jessica has the natural ability to make relevant the most minimal. She has the talent to give it a touch of transcendence to the ephemeral, sensing the exact light needed to create its charm. Her photographs combine the simplicity of the motive with a sophisticated eye that makes them fresh, even inaugural. “ ANTÓNIO SKÁRMETANovelist and screenwriter, Chile
Jessica Backhaus
Alma 2019Archival Pigment Prints, 90 x 60 cm
Jessica Backhaus Pineapple 2013
Archival Pigment Prints,, 75 x 50 cm
Jessica Backhaus Survivor 2014
Archival Pigment Prints,, 50 x 75 cm
Jessica Backhaus Summer, 2019
Fine Art Pigment Print, 40 x 60cm
CARLOS CARVALHO ARTE CONTEMPORÂNEA Rua Joly Braga Santos, Lote F R/C | 1600 – 123 Lisboa Portugal
Tel.+(351) 217 261 831
Artistas Artists Ricardo Angélico | Jessica Backhaus | José Bechara | Isidro Blasco | Daniel Blaufuks | Isabel Brison | Carla Cabanas | Manuel Caeiro | Mónica Capucho | Tiago Casanova | Roland Fischer | Susana
Gaudêncio | Anthony Goicolea | Catarina Leitão | Tatiana Macedo | José Batista Marques | José Maçãs de Carvalho | Mónica de Miranda | Luís Nobre | André Príncipe | Noé Sendas | Manuel Vilariño
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