Four perspectives on Cia de Foto

Authors

  • Camila Monteiro Schenkel DAV-IA-UFRGS
  • Rafael Jacinto Cia de Foto
  • João Kehl Cia de Foto
  • Pio Figueiroa Cia de Foto
  • Carolina Lopes Cia de Foto

DOI:

https://doi.org/10.22456/2179-8001.80096

Keywords:

Collectives. Photography. Contemporary art. Authorship

Abstract

Throughout its ten years of activity, the collective Cia de Foto developed works in visual arts, journalism and advertising. Their insistence on always crediting their works to the group as a whole, without specifying which members had been directly involved in their production, places Cia de Foto at the heart of debates on authorship and forms of photography production in today’s world. Between 2003 and late 2013, when they announced the end of their activities, the collective gradually expanded and changed their way of working as well as their members and organizational system. The following interview takes stock of the group’s trajectory from the point of view of the four members who were in its last makeup: Carol Lopes, João Kehl, Rafael Jacinto and Pio Figueiroa.

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Author Biographies

Camila Monteiro Schenkel, DAV-IA-UFRGS

She holds a degree in Art and Media from the Federal University of Campina Grande and she did Graduate Studies in Photography at Senac-SP. She has worked with the digitization, edition and treatment of images from photographer Nair Benedicto’s collection as well as a teacher in digital photography courses.

Rafael Jacinto, Cia de Foto

He holds a degree in Social Communication from Armando Álvares Penteado Foundation (1998), focused on radio and television. While still in college, he began working as a freelance photographer for skateboarding and surfing magazines. He was a photo reporter for the newspaper Notícias Populares and was part of

João Kehl, Cia de Foto

He holds a degree in Photography from São Paulo’s Senac University Center (2005) and began his work as an assistant to photographers. He currently works with Rafael Jacinto as a photographer and stage director for the advertising and publishing markets.

Pio Figueiroa, Cia de Foto

He began his career in photojournalism at Recife’s Jornal do Comércio in 1995. Two years later, he moved to São Paulo, where he worked for Editora Abril, Editora 3 and the newspaper Valor Econômico. He currently works as a photographer and scene director. He is the editor of the Latin American photography magazine Sueño de la Razón and the blog Icônica.

Carolina Lopes, Cia de Foto

She holds a degree in Art and Media from the Federal University of Campina Grande and she did Graduate Studies in Photography at Senac-SP. She has worked with the digitization, edition and treatment of images from photographer Nair Benedicto’s collection as well as a teacher in digital photography courses.

References

All interviews took place in São Paulo in December 2015. They are presented in the order in which they occurred. Since the texts needed to be reduced in some sections, information about the collective’s constitution, ways of working and more representative works were favored. The material was collected for my PhD research at the Graduate Program in Visual Arts of the Federal University of Rio Grande do Sul (PPGAV-UFRGS), under a CAPES grant, which resulted in the thesis Manter os olhos abertos diante do abismo: a produção compartilhada de imagens em coletivos de arte contemporânea (Keeping one’s eyes open before the abyss: shared production of images in today’s art collectives), defended in October 2016

Additional Files

Published

2018-06-02

How to Cite

Schenkel, C. M., Jacinto, R., Kehl, J., Figueiroa, P., & Lopes, C. (2018). Four perspectives on Cia de Foto. PORTO ARTE: Revista De Artes Visuais, 22(37). https://doi.org/10.22456/2179-8001.80096

Issue

Vol. 22 No. 37 (2017): DOSSIÊ: A HORA DAS ENTREVISTAS

Section

Versão | Version

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