Manaus - AM, 1976 | Lives in Recife - PE
Graduated in Artistic Education / Plastic Arts at the Federal University of Pernambuco. Since 1987 frequents many courses: history of art, drawing, painting, sculpture, digital medias and montage and production oh exhibitions. Executed mediation at the Museum of Modern Art Aloísio Magalhães - MAMAM (2000), took part in the production team of them Week of Visual Arts of Recife - SPA (2002 and 2003) and actually is the Director of the Department of Plastic Arts of Recife's Town Hall. Founded and participated of the BRECHA atelier between 2000 and 2004. In 1999, wins the acquisition's prize of the Pernambuco of Plastic Arts / New Talents Show (MAC, Olinda); more recently was contemplated with the prize/grant of the 45th Pernambucano of Plastic Arts Show (2004), developing the research «The Digital Manipulation of the Photography as Means of Artistic Expression». Takes part in the project VISUAL ARTS NET/FUNARTE, giving workshops in the whole country. Of the collective exhibitions, can be distincted: The Body in Brazilian's Contemporary Art, Itaú Cultural (São Paulo - 2005); Projectiles of Contemporary Art, FUNARTE's Galleries (Rio de Janeiro - 2005), 46th Pernambuco of Plastic Arts Show, MAC (Olinda - 2004/2005), Project Masterpiece, Fayga Ostrower Gallery - FUNARTE (Brasília - 2004); Experimental, MAC, Ceará, Centre Dragão do Mar of Culture and Arts (Fortaleza - 2003); Intervention on the BASE (Transição Listrada Group), I Biennale Ceará América (Fortaleza - 2003); Navel, Amparo 60 Gallery (Recife - 2002); Pará Art Show (Belém - 2002); Cômputos, Dumaresq Gallery (Recife - 2002); Project 3X, Institute of Contemporary Art - IAC (Recife - 2002); 33rd Contemporary Art Show of Piracicaba (Piracicaba - 2001); Semi-new, Abolition Museum/IPHAN (Recife - 2001). Had the individual exhibitions Cartas ao Vizinho (Letters for the Neighbor), São Francisco Cultural Centre (João Pessoa - 2002) and Ornamentos para o Corpo (Adornments for the Body), Archidy Picado Gallery (João Pessoa - 2004).
The exhibition at the Maison Européenne de la Photographie offers a selection of major photographs from its collection, first created in 1980. Choosing from 20,000 contemporary photographs inevitably involved selecting a theme.
Autour de l’extrême (‘focus on the extreme’) refers to a recurring theme in contemporary art, which constantly attempts to push back social, political, aesthetic or scientific limits. Showcasing work by internationally famous photographers such as Pierre Molinier, Robert Mapplethorpe, Andres Serano and Joël-Peter Witkin, and also pieces by young photographers such as Rodrigo Braga and Raphaël Dallaporta, the exhibition explores all the territories of the visible, from the conquest of the Moon to recent conflicts, and from medical research to experimenta...
L’exposition présentée à la Maison Européenne de la Photographie se propose d’offrir un florilège des oeuvres les plus marquantes de sa collection commencée en 1980. Choisir parmi 20 000 oeuvres contemporaines, c’était immanquablement s’imposer un thème.
« Autour de l’extrême » renvoie donc à une des constantes de la création contemporaine qui tend à repousser inexorablement les limites, que celles-ci soient sociales, politiques, esthétiques ou scientifiques. A travers les oeuvres de photographes internationalement reconnus comme Pierre Molinier, Mapplethorpe, Andres Serano ou Joël-Peter Witkin, mais aussi de jeunes photographes comme le Brésilien Rodrigo Braga, ou Raphaël ...
Notes about the manipulation of photography in Rodrigo Braga's work
by Clarissa Diniz (copyright)
The work of Rodrigo Braga, since the series Nail and Skin, has been marked by the digital manipulation of photography, a recurrent issue in the 20th and 21st centuries, when the limits between the real and the unreal became widely questioned, among other reasons, by the creation of new technologies.
The appearance of photography provided by the possibility of accurate depiction of the world images, offered by the invention of an equipment - the camera - that, being sensitive to the manifestations of light, was able to apprehend the luminous variations of what was in front of it, reproducing them on a film, producing an equal image to the one captured by the lens at the moment of the photo.
This history left dee...