PORTFÓLIO TIAGO CASANOVA

photograph’s punctum, the fact that this was something
accessible only to the personal universe of those who had
had a past experience with the object or the person in the
photographic image, as Barthes 9 postulated, does not seem
to be happening with this project. That is, Barthes’ punctum
ceases to exist only in the particular universe of the person that
experienced those situations, but it is widened to the others
with the invitation that Tiago Casanova’s Teste à Capacidade
Mnemónica da Fotografia makes to the public with to dialogue
with his work, making people envision in the presented image
“fragments” diverse fictional narratives arising from various
personal universes.
______________________
1 «A memória é essa claridade fictícia das sobreposições
que se anulam. O significado é essa espécie de mapa das
interpretações que se cruzam como cicatrizes de sucessivas
pancadas. Os nossos sentimentos. A intensidade do sentir é
intolerável. Do sentir ao sentido do sentido ao significado: o
que resta é impacto que substitui impacto - eis a invenção».
Ana Hatherly, in ‘A Cidade das Palavras’, Lisbon: Quetzal
(1988); http://www.citador.pt/textos/o-significado-damemoria-ana-hatherly
2 «Je ne suis pas dans l’espace et dans le temps, […] je
suis à l’espace et au temps, mon corpos s’applique à eux
et les embrasse» […] «Notre corps n’est pas seulement
un espace expressif parmi tous les autres. Il est à l’origine
de tous les autres, le mouvement même d’expression, ce
qui projette au-dehors les significations en leur donnant un
lieu».
Merleau-Ponty, Phénoménologie de la perception, Paris,
Gallimard, 1945, p. 174, 183
3 The question, what is place? presents many difficulties.
An examination of all the relevant facts seems to lead to
different conclusions. Moreover, we have inherited nothing
from previous thinkers, whether in the way of a statement
of difficulties or of a solution.
Aristotle, Book IV, The Physics
4 […] «In anxiety one feels ‘uncanny’ [unheimlich]» […]
Not-being-at-home must be conceived existentially and
ontologically as the more primordial phenomenon».
Martin Heidegger, Being and Time (Trans. John Macquarrie
and Edward Robinson) New York: Harper and Row, 1962
5 The decline and abandonment of urban areas, of their
commercial, habitation, and industrial activities convert,
generally speaking, these places into some kind of suburb,
spaces of ruins, an architecture of wreckage that may be
the result of overflowing spaces after a structure collapses,
of skeletons of seized buildings or pieces of dispersed,
abandoned lands. They are “non-places” – (Marc Augé), nonidentitary
and non-relational places that are also heterotopic
places – (Michael Foucault) and because of that own great
potential for being reinvented and work as generators of
new dynamics. And so these areas can work as a support
for countless art interventions to dialogue among each
other and with a patrimony simultaneously built by edified
spaces and in ruins, a program capable of projecting
crucial political and cultural ideas for a new development
and balance for the collective and for the creation and
identification of another social and/or cultural identity.
Augé, M (1995), Non-places: Introduction to an
Anthropology of Supermodernity. London: Verso.
“Des Espaces Autres” published by the French journal
Architecture /Mouvement/ Continuité in October, 1984,
was the basis of a lecture given by Michel Foucault in March
1967. Although not reviewed for publication by the author
and thus not part of the official corpus of his work, the
manuscript was released into the public domain for an
exhibition in Berlin shortly before Michel Foucault’s death.
Translated from the French by Jay Miskowiec.
6 Krauss, Rosalind, 1970: Note sur l’index, in Macula 5-6, pp.
165-175. Also in Krauss 1985.
7 Wenders, Wim; KOLLHOFF, Hans. La ciutat, una conversa,
Quaderns, n.177, 1988. p. 63
8 Umberto Eco, Obra Aberta: forma e indeterminação nas
poéticas contemporâneas. São Paulo: Perspectiva, 2005.
9 As Roland Barthes explains in his book Camera Lucida,
in which he develops the twin concepts of ‘punctum’ and
‘studium’: studium denoting the cultural, linguistic, and
political interpretation of a photograph; punctum denoting
the wounding, personally touching detail which establishes a
direct relationship with the object or person within it.
Roland Barthes, Camera Lucida: Reflections on Photography
(Published May 1st 1982 by Hill and Wang – first published
in 1980).