short film (20 min)
As a response to the current investment in large hydroelectric dams as a ground to Brazil's 'sustainable' economic growth, Costs addresses the impacts these endeavour have caused on both the environment and people. Director Marilene Ribeiro surveys three hydro schemes that happen at different times in Brazil (past - the Sobradinho dam, present - the Belo Monte dam, and future - the Garambi-Panambi dam complex).
The video engages with situations in which the impacts caused by dams emerge in a more sensitive way; for example, when participants of her project (individuals who have been affected by these ventures) draw, sing, or speak about their feelings and their interpretations of their lived experience.
* Penedo Film Festival 2018 (Brazil) - official selection
* Mostra SESC de Cinema 2019 (Brazil) - official selection
* Mostra de Cinema Feminista 2019 (Brazil) - official selection
* Mostra Cineclube em Ação 2019 (Brazil) - official selection
* Mostra do Filme Marginal 2019 (Brazil) - official selection
* Cine.Ema - Mostra de Cinema Ambiental 2019 (Brazil) - official selection
2014 - 2018
Dead Water tells the story of dams and hydropower from the perspectives of the people who have been affected by these ventures in Brazil stitched together with my own background as a trained photographer, ecologist, and individual. It engages with the nature and magnitude of the intangible costs of dams and hydropower, as a counterpoint to the widespread notion of hydropower as a "sustainable and green" energy source that promotes development and fights global warming. Dead Water is driven by portraits I jointly construct with each participant (i.e. individuals who have been affected by these dams in different parts of Brazil) in dialogue with testimonies, vernacular imagery, drawings, folk songs lyrics, advertising pieces, etc. that provide the context, the atmosphere, the message of the work.
This project was undertaken with the financial support of the CNPq Scholarship Programme and the Royal Photographic Society Awards.
It was also undertaken with the vital support of the Movement of People Affected by Dams (MAB, Brazil).
(or As if they were mine)
Polaroid snapshots + photography-appropriation
When I was 7 years old my parents' house was burglarized. Thieves didn't know but there was more than glasses inside the cupboard they stole: all my family's photographs and recorded k7 tapes were kept there. Consequently, my family and I ended up having not a household item stolen but our memories instead.
At some point, I started to get concerned about eventually forgeting my personal history as I no longer had my family's photographs to remind me about that.
Then, thirty years after this episode, I started to photograph places and situations that somehow reminded me my early childhood, based on the stories my relatives had told me about my past. Even being aware that these actual places, people and situations didn't belong to me but rather to someone else's history, I carried on: not only photographing but also appropriating photographs from other people's family albums (which I found at antique shops or elsewhere). Somehow stealing someone else's memories to re-document my personal past - as if they were mine.
digital photography + digital collage on white canvas
2014 - ongoing
Throughout 2014 one more governmental palliative iniciative to depollute Pampulha's Lagoon (Lagoa da Pampulha) took place. Pampulha's Lagoon, which was renowned for its beautiful sights and for being the habitat of wild animals like capybaras, herons, kingfishers, and crocodiles (despite being in fact highly polluted), was suddenly turned into a work site comprised of heavy machines, piles of trash and mud, dense dust, and an even stinkier water. This proposed infrastructure work not only failed to improve Pampulha's Lagoon water but also destroyed nests, animal shelters, and killed dozens of capybaras.
I captured these work site objects and detached them from Pampulha's landscape as, in my conception, they didn't belong to that (formely) pleasant area. Yet, while doing that, I assured Pampulha's Lagoon left its imprint in every final piece, as a mirror of the disturbance these alien objects also engraved in that wildlife site.
A cena do crime
digital photography printed on voile + collage of moth and butterfly corpses
10 canvas of 50x37cm each
Após vivenciar uma situação paranóica de obsessão, decidi canalizar meu medo, insegurança e fantasias sobre um futuro sombrio iminente, cada vez que eu me aproximava da minha casa, em imagens fotográficas que descrevessem a cena do crime que poderia ter acontecido, mas não aconteceu. Comecei a colecionar (e pedi a amigos que também colecionassem) insetos que encontrava mortos dentro de casa. Povoei a paisagem forense em preto e branco, impressa sobre voil, com esses seres “assassinados” pelas circunstâncias.
Percebi que minha experiência foi, na verdade, a reverberação de uma questão social e cultural mais ampla e atemporal. Não busquei respostas com esse trabalho, simplesmente toquei na vulnerabilidade do ser humano (em especial na vulnerabilidade feminina) a partir do momento em que encontra outro ser humano.
On the Human Inability of Resurrecting Things
landscape intervention + digital photography
7 prints of 100x150cm each mounted on methacrylate
Intervention in Brazilian reservoirs and burnt fields as an attempt to raise awareness with regards to the impossibility of bringing ecosystems as well as species back to life after human attitudes against nature, aiming solely the 'development of civilization', are triggered.
A hora da chuva seca
earth, nylon thread and 'slices' of photograph attached into acrylic cubes.
3x4cm image pieces cut from Serra do Gandarela whole photograph (appropriated from the Internet) and hermetically closed into acrylic cubes. The landscape is, then, kept apart from the earth placed on the gallery floor - earth whose vegetation of Serra do Gandarela grow on.
Visitors are allowed to take the acrylic cubes away, deconstructing the installation - turning the art piece into a harsh, inhospitable view.
A representation of human punctual but, at the same time, unsustainable attitudes towards the Commons.
Photo Rag 320 Hahnemuhle paper
single frames, dyptychs, tryptychs and polyptychs (dimensions variable)
Situated in one of the driest region of Earth, the route from Arica (Chile) to Arequipa (Peru) is rather a struggle between harshness and life.
As a result, human presence is either absorbed by the vast and isolated landscape or sharply detached from the latter.
Solitude is a narrative of such tension. Everyday life happening amidst the inhabitable.
landscape intervention + digital photography
Baryta 310 Hahnemuhle paper
6 prints of 40x60cm each
The Meio series highlights urban everyday life as part of nature cycles.
By placing actual household objects into natural landscapes (in this special case, taking these real objects to some Brazilian ecosystems imminently threatened by mining plants), I allow the former to be absorbed by the latter, then turning both into one single and completely connected piece. Each photograph represents a perpetuation of such link - an ephemeral intervention act into the landscape resonates the delicate and complex influence of nature in the dismissed 'self-nourished' life in cities. A thought on the importance of biological conservation for human beings’ welfare.
digital photography / web art / collaborative art
Luana is a research on portraiture, cultural identity and 'reality'. The aim is to discuss concepts on portraiture and identity as well as how these subjects have been led in the environment of the Internet.
The artist’s proposal is to explore the human behavior before the accessibility to someone else’s life offered by the Internet and to expose the role the 'Other' plays in (re-)building our own identities.
Arrudas Visto de Perto
Urban intervention + performance + digital photography
(commission by Projeto Manuelzão)
book art object -
digital photography + collaborative art work
Dominic Clark (UK) & Marilene Ribeiro (Brazil)
Aiming to trigger the belonging feeling on inhabitants of the cities about tropical ecosystems (since the latter situate “far” from the urban Imaginary), the photographers invited each one 10 citizens of Lincoln (UK) and Belo Horizonte city (Brazil) for choosing either a place or an object inside their own houses which resembles, somehow, the image they’d just received (a picture displaying a wild tropical landscape gave to them by both artists). Recognizing a tropical ecosystem in such intimate places or things took those 20 people closer to the former as well as allowed the participants to get inside their own memories, since parts of their intimacy and tropical landscapes became one single piece.
Once back to the 10 guests’, the two artists photographed those special places/objects.
Each photograph presented in this book art object is therefore a metamorphosis of the 'opposites' in someone else’s imagination: a photograph of the invisible. Actually, a photograph of Semiotics which can turn personal urban histories into Natural Landscapes.
digital photography + digital intervention (collective work)
Luana Aires, Martinelli Martins, Marilene Ribeiro & Pedro Stockler
10 C-prints of 30x45cm each
My colleagues and I re-signify the word "fugacidade" from Augusto de Campos' poem “Cidadecitycité” (1987/1991) by taking 'metropolis characters' away from the chaos of big cities to their dreams of paradise. However, these characters drive vehicles that hardly will take them to anywhere as the latter comprise car carcasses found in dumps around the city (huge disposals of a consumer society).
C-print - 10 images of 15x21cm each
(comission by Instituto Mamirauá)
Like many other communities in Central Amazonia, people who inhabit the shores of Lago Amanã deal with a long history of isolation. Keeping a deep contact with natural resources and phenomena leads those individuals to such intimacy with the river that one can barely take the former apart from the latter. Water creatures, cyclic floods (that force people to move out and in annually), as well as canoeing as the only way of ‘moving’ between sites transform these people’s folklore into a unique mix of tales, myths and beliefs. I decided to see this relationship through my lens.