LAMALAND
Lamand is a research artist studio that advocates for parafiction by rejecting the boundaries between reality and fiction to rethink a state of uncertainty inherent to our historical moment through cinema/contemporary art.
Lamaland’s analytical nature translates into meticulous visual outcomes and production strategies that range from film, publications, and installations.
SALOME LAMAS PROFILE
Salomé Lamas is a Portuguese filmmaker, visual artist, and educator.
For the last fifteen years, with a steady production of more than thirty projects, her work has been contextualized in visual culture, artistic studies, and film studies, exhibited, and distributed internationally in the fields of cinema (movie theatres, festivals, VOD streaming) and contemporary art (galleries, museums, art fairs, biennials).
She has been developing an artistic practice that explores the embedded relation between representation and the narrative power of social reality while proposing something different. Around, but not beyond, the real: beyond, but not besides, the fictional. To address the efforts to expand such interstice, she refers to her work as critical media practice parafictions.
With a mixed background in cinema and visual arts and research informed by critical epistemology, transnational and subjective, focused on the possibilities opened up by ecological thought, as well as the connection between artistic praxis, economic, aesthetic mutations, and contemporary philosophy, she’s been challenged to comply with a single orientation or to combine them in her actions as an artist/filmmaker, but also as an educator in various contexts, levels, and geographies.
The multidisciplinary ethos underpinning her artistic endeavor continually challenges the boundaries of visual narrative to foster critical dialogues that prompt audiences to confront the intricacies of the human experience and broader societal dynamics, focused on migration, postcolonialism, and a critique of capitalism.
This research-based practice perpetuates a legacy of intellectual inquiry and artistic innovation, critically examining the social and economic roles of media production across the stages of development, production, exhibition, distribution, and archive with outcomes that range from films to installations and publications.
BIOGRAPHICAL NOTE
Studied cinema in Lisbon and Prague, visual arts in Amsterdam, and is a Ph.D. candidate in Contemporary Art Studies in Coimbra.
Her work has been screened and discussed both in art venues and film festivals such as Berlinale, Locarno Film Festival, BAFICI, FIDMarseille, Museo Nacional Centro de Arte Reina Sofía, MNAC – Museu Nacional de Arte Contemporânea , Doclisboa, Cinema du Réel, Visions du Réel, MoMA – Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Berlinische Galerie, Museum of the Moving Image, Jewish Museum, Mostra Internacional de Cinema de São Paulo, FICUNAM – Festival Internacional de Cine de la UNAM, IDFA, RIDM – Montreal International Documentary Festival, La Casa Encendida, Anthology Film Archives, Arsenal – Institut für Film und Videokunst e.V., Viennale, Culturgest – Fundação Caixa Geral de Depósitos, CCB – Centro Cultural de Belém, Hong Kong International Film Festival, Museu de Arte Contemporânea de Serralves, Tate Modern, CPH:DOX, Centre d’Art Contemporain de Genève, Bozar Brussels, Louvre, Tabakalera – Centro Internacional de Cultura Contemporánea, New Directors / New Films (ND/NF), ICA London – Institute of Contemporary Arts, TBA 21 Foundation, CAC Vilnius, MALBA, Haus der Kulturen der Welt, Faena Art, Sesc, MAAT – Museu de Arte, Arquitetura e Tecnologia, La Biennale di Venezia Architettura, among others.
Lamas was granted several fellowships, such as the Gardner Film Study Center – Harvard University, Rockefeller Foundation Bellagio Center, Brown Foundation – Dora Maar House, MacDowell, Bogliasco Foundation, Camargo Foundation, Civitella Ranieri, Yaddo, Fundación Botín, FCT – Fundação para a Ciência e a Tecnologia, Fundación “la Caixa”, Fundação Calouste Gulbenkian, Sundance Institute, FLAD – Fundação Luso-Americana para o Desenvolvimento, CNAP – Centre National des Arts Plastiques, Berliner Künstlerprogramm des DAAD.
Lamas is regularly invited to collaborate with art, film, and teaching institutions.
She is an assistant guest professor at the FBAUL – Faculty of Fine Arts of the Universidade de Lisboa, and collaborated with the EA – School of Arts of Universidade Católica Portuguesa, ESAD.CR – School of Arts and Design of Caldas da Rainha of Instituto Politécnico de Leiria, EQZE – Elías Querejeta Zine Eskola, and DAF – Diriyah Art Futures, among others. In 2000-2021, she was a Film Study Center Fellow at Harvard University and in 2023 a visiting scholar at Northwestern University Buffett Institute for Global Affairs.
She collaborates with the production companies O Som e a Fúria, Primeira Idade, Folk Film, and is represented by Kubikgallery and Galeria Miguel Nabinho.
After serving on the board of APR — Associação Portuguesa de Realizadores — in 2020, she founded, with the support of a group of artists, AAVP — Associação Portuguesa de Artistas Visuais em Portugal. Her work is distributed internationally and is represented in several public and private collections.
BIOGRAPHICAL NOTE
Studied cinema in Lisbon and Prague, visual arts in Amsterdam, and is a Ph.D. candidate in Contemporary Art Studies in Coimbra.
Her work has been screened and discussed both in art venues and film festivals such as Berlinale, Locarno Film Festival, BAFICI, FIDMarseille, Museo Nacional Centro de Arte Reina Sofía, MNAC – Museu Nacional de Arte Contemporânea , Doclisboa, Cinema du Réel, Visions du Réel, MoMA – Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Berlinische Galerie, Museum of the Moving Image, Jewish Museum, Mostra Internacional de Cinema de São Paulo, FICUNAM – Festival Internacional de Cine de la UNAM, IDFA, RIDM – Montreal International Documentary Festival, La Casa Encendida, Anthology Film Archives, Arsenal – Institut für Film und Videokunst e.V., Viennale, Culturgest – Fundação Caixa Geral de Depósitos, CCB – Centro Cultural de Belém, Hong Kong International Film Festival, Museu de Arte Contemporânea de Serralves, Tate Modern, CPH:DOX, Centre d’Art Contemporain de Genève, Bozar Brussels, Louvre, Tabakalera – Centro Internacional de Cultura Contemporánea, New Directors / New Films (ND/NF), ICA London – Institute of Contemporary Arts, TBA 21 Foundation, CAC Vilnius, MALBA, Haus der Kulturen der Welt, Faena Art, Sesc, MAAT – Museu de Arte, Arquitetura e Tecnologia, La Biennale di Venezia Architettura, among others.
Lamas was granted several fellowships, such as the Gardner Film Study Center – Harvard University, Rockefeller Foundation Bellagio Center, Brown Foundation – Dora Maar House, MacDowell, Bogliasco Foundation, Camargo Foundation, Civitella Ranieri, Yaddo, Fundación Botín, FCT – Fundação para a Ciência e a Tecnologia, Fundación “la Caixa”, Fundação Calouste Gulbenkian, Sundance Institute, FLAD – Fundação Luso-Americana para o Desenvolvimento, CNAP – Centre National des Arts Plastiques, Berliner Künstlerprogramm des DAAD.
Lamas is regularly invited to collaborate with art, film, and teaching institutions.
She is an assistant guest professor at the FBAUL – Faculty of Fine Arts of the Universidade de Lisboa, and collaborated with the EA – School of Arts of Universidade Católica Portuguesa, ESAD.CR – School of Arts and Design of Caldas da Rainha of Instituto Politécnico de Leiria, EQZE – Elías Querejeta Zine Eskola, and DAF – Diriyah Art Futures, among others. In 2000-2021, she was a Film Study Center Fellow at Harvard University and in 2023 a visiting scholar at Northwestern University Buffett Institute for Global Affairs.
She collaborates with the production companies O Som e a Fúria, Primeira Idade, Folk Film, and is represented by Kubikgallery and Galeria Miguel Nabinho.
After serving on the board of APR — Associação Portuguesa de Realizadores — in 2020, she founded, with the support of a group of artists, AAVP — Associação Portuguesa de Artistas Visuais em Portugal. Her work is distributed internationally and is represented in several public and private collections.
ARTIST STATEMENT
In a fertile occupation of no man’s land, Lamas refers to her work as critical media practice parafictions.
Rather than conventionally dwelling in the periphery between cinema and the visual arts, fiction, and non-fiction, she has been attempting to make these languages her own. She explores new paths in form and content, challenging conventional methods of production, modes of exhibition, and the lines between various filmic and artistic forms of aesthetic expression.
Actively exploring the capacities and limitations of transdisciplinary and transmedial contexts in contemporary culture, as well as examining the connections between aesthetics, materiality, and politics, theory and praxis are inherently connected. She is interested in understanding to what extent reflexive parafiction can produce new social and aesthetic forms and structures while contributing to an awareness of its own form and structure. Parafiction responds to technological change and epistemological uncertainty by turning to reflexivity, artifice, and performativity, often employing strategies of re-enactment, essayism, and subjectivism, and is frequently accompanied by critical writing.
A parafiction that relies on the boundaries between reality and fiction to rethink a state of uncertainty inherent to our historical moment through contemporary art and cinema helps sort fact from fiction, assisting in reflection and training our minds to confront other kinds of information.
She advocates for parafiction as a vital method that produces new information and perspectives, acting as an additional module that connects physical and digital spatiotemporal realms with alternative potential for pasts, presents, and futures.
A fundamental principle of her practice is the dialogue among disciplines, points of view, and methodologies. Laboratory and applied research, old and new media, and local and global forms of organization are guiding principles. Lamas has been researching different scales, social formations, mappings, systems, and gestures as a cartographer of human activity. She is often drawn to critical zones, geographies of sacrifice, and controversial subjects. These liminal territories and marginal characters are brought to the public for critical discussion.
These works of either modified ethnography, performative, or allegorical features show an interest in the intrinsic relationship between storytelling, memory, and history, while primarily using time-based media to explore the traumatically repressed, seemingly unrepresentable, or historically invisible, ranging from the horrors of colonial violence to the landscapes of global capital. Moreover, Lamas conveys a multidisciplinary approach, critically addressing the social and economic roles of media production across the stages of development, production, exhibition, and distribution, with outcomes ranging from publications, film, video, and sound installations. Her approach to education includes and overspills the traditional framework of systematic, academic, and institutional teaching.
ARTIST STATEMENT
In a fertile occupation of no man’s land, Lamas refers to her work as critical media practice parafictions.
Rather than conventionally dwelling in the periphery between cinema and the visual arts, fiction, and non-fiction, she has been attempting to make these languages her own. She explores new paths in form and content, challenging conventional methods of production, modes of exhibition, and the lines between various filmic and artistic forms of aesthetic expression.
Actively exploring the capacities and limitations of transdisciplinary and transmedial contexts in contemporary culture, as well as examining the connections between aesthetics, materiality, and politics, theory and praxis are inherently connected. She is interested in understanding to what extent reflexive parafiction can produce new social and aesthetic forms and structures while contributing to an awareness of its own form and structure. Parafiction responds to technological change and epistemological uncertainty by turning to reflexivity, artifice, and performativity, often employing strategies of re-enactment, essayism, and subjectivism, and is frequently accompanied by critical writing.
A parafiction that relies on the boundaries between reality and fiction to rethink a state of uncertainty inherent to our historical moment through contemporary art and cinema helps sort fact from fiction, assisting in reflection and training our minds to confront other kinds of information.
She advocates for parafiction as a vital method that produces new information and perspectives, acting as an additional module that connects physical and digital spatiotemporal realms with alternative potential for pasts, presents, and futures.
A fundamental principle of her practice is the dialogue among disciplines, points of view, and methodologies. Laboratory and applied research, old and new media, and local and global forms of organization are guiding principles. Lamas has been researching different scales, social formations, mappings, systems, and gestures as a cartographer of human activity. She is often drawn to critical zones, geographies of sacrifice, and controversial subjects. These liminal territories and marginal characters are brought to the public for critical discussion.
These works of either modified ethnography, performative, or allegorical features show an interest in the intrinsic relationship between storytelling, memory, and history, while primarily using time-based media to explore the traumatically repressed, seemingly unrepresentable, or historically invisible, ranging from the horrors of colonial violence to the landscapes of global capital. Moreover, Lamas conveys a multidisciplinary approach, critically addressing the social and economic roles of media production across the stages of development, production, exhibition, and distribution, with outcomes ranging from publications, film, video, and sound installations. Her approach to education includes and overspills the traditional framework of systematic, academic, and institutional teaching.
FILMOGRAPHY PROJECTS
2022/25 – GOLD AND ASHES, PROJECT: OURO E CINZA / GOLD AND ASHES 2025 (feature fic), GOLD AND ASHES | REDUX 2025 (installation), GOLD AND ASHES 2025 (record-cum-publication)
2022 – LA VAGUE / THE WAVE (short doc, exp)
2021/22 – GAIA, PROJECT: WHAT IF THE METEORITES WOULD TALK 2021 (installation), GAIA: WHAT IF THE METEORITES WOULD TALK 2021 (short exp), GAIA 2022 (record-cum-publication)
2020/21 – HOTEL ROYAL, PROJECT: HOTEL ROYAL 2021 (short fic), HR 2020/21 (installation)
2019/20 – EXTRACTION: THE RAFT OF THE MEDUSA, PROJECT: EXTRACTION: THE RAFT OF THE MEDUSA (FOR INTERDEPENDENCE) 2019 (short doc, exp, fic), EXTRACTION: THE RAFT OF THE MEDUSA 2019 (publication), EXTRACTION: THE RAFT OF THE MEDUSA 2020 (short exp, video installation)
2019 – O CORPO, A SEXUALIDADE E O ERÓTICO NA OBRA DE JÚLIO POMAR /THE BODY, SEXUALITY AND THE EROTIC IN THE WORK OF JÚLIO POMAR (installation)
2016/19 – FATAMORGANA, PROJECT: FATAMORGANA 2017 (theater play), ©FATAMORGANA
2018/19 (feature fic, exp), FATAMORGANA 2018 (publication in collaboration with Isabel Ramos), AFFEKTENLEHRE 2018 (sound installation in collaboration with Miguel Martins), WHAT DO WE TALK ABOUT WHEN WE TALK ABOUT FATAMORGANA 2018 (short doc), FATAMORGANA 2019 (publication)
2018 – HANGAR–METRO–TERMINAL, PROJECT: HANGAR 2018 (short doc), METRO 2018 (short doc), TERMINAL 2018 (short doc),
2015/18 – EXTINCTION, PROJECT: EXTINÇÃO / EXTINCTION 2018 (feature doc), HORIZON NOZIROH 2017 (video installation in collaboration with Gregorio Graziosi), DREAM WORLD 2018 (photograph), AUTO RETRATO / SELF-PORTRAIT 2017/18 (short doc, photogravure), A TORRE / THE TOWER 2015 (short doc, exp)
2017 – UBI SUNT I-III, PROJECT: UBI SUNT I 2017 (short fic, exp), UBI SUNT II 2017 (video installation in collaboration with Christoph Both-Asmus), UBI SUNT III 2017 (video installation in collaboration with Christoph Both-Asmus)
2017 – COUP DE GRÂCE (short fic)
2016 – ... RIOTS AND RITUALS (video installation)
2015/16 – ELDORADO XXI, PROJECT: ELDORADO XXI 2016 (feature doc), THE BURIAL OF THE DEAD [2016] (video installation), MOUNT ANANEA 2015 (installation, record)
2015 – NORTE/NORTE: TRIAL BY FIRE (video installation)
2013 – THEATRUM ORBIS TERRARUM, PROJECT (short exp, installation)
2012/14 – NO MAN'S LAND, PROJECT: TERRA DE NINGUÉM / NO MAN'S LAND 2012 (feature doc), LE BOUDIN 2014 (short doc)
2012 – A COMUNIDADE / THE COMMUNITY (short doc)
2012 – ENCOUNTERS WITH LANDSCAPE3X (short exp)
2008/12 – EARLY WORKS: VHS–VIDEO HOME SYSTEM 2010/12 (short doc), GOLDEN DAWN 2011 (short doc), IMPERIAL GIRL 2010 (short doc), JOTTA: A MINHA MALADRESSE É UMA FORMA DE DELICATESSE 2009 (feature doc in collaboration with Francisco Moreira)
OTHER PROJECTS (SELECTION)
Smaller projects are executed yearly to be included in group shows, publications, talks, or contributions to third-party initiatives.
EDUCATION, OTHER, CONFERENCES, JURIES
Lamas is regularly invited to collaborate with art, film, and teaching institutions in geographies as diverse as Portugal, France, Spain, Germany, England, Italy, Belgium, Denmark, Georgia, Czech Republic, Austria, Sweden, Switzerland, Moldova, Romania, Bulgaria, Serbia, Lithuania, Norway, the Netherlands, the United States, Canada, Argentina, Chile, Costa Rica, Cuba, Peru, Mexico, Brazil, Nigeria, Uganda, Zimbabwe, Egypt, Lebanon, Saudi Arabia, Indonesia, Hong Kong, Western Sahara, among others.
Participations include consultation, mentorship, workshops, roundtables, masterclasses, artist talks, laboratories, studio visits, conferences, seminars, and selection commissions (art competitions, festival awards, artist residencies, collection acquisitions, and funding)
APPRENTICESHIPS
Lamaland hosts academic and professional apprenticeships in collaboration with national and international programs.
Direct mentorship
Practical studio experience
Participation in ongoing projects
Contact: salomelamas [at] hotmail.com
FUNDING
Batalha Centro de Cinema, Berliner Künstlerprogramm des DAAD, Bogliasco Foundation, Brown Foundation — Dora Maar House, Buffett Institute for Global Affairs – Northwestern University, Câmara Municipal de Arruda dos Vinhos, Câmara Municipal de Mértola, Câmara Municipal do Porto – Pelouro da Cultura, Camargo Foundation, Cinemateca Portuguesa – Centro de Conservação ANIM, Civitella Ranieri, CNC — Centre National du Cinéma et de l’Image Animée, CNAP – Centre National des Arts Plastiques, Coleção António Cachola, DGArtes – Direção-Geral das Artes, Deputación da Coruña, Det Danske Filminstitut, EGEAC – Câmara Municipal de Lisboa, Faena Art, Faliro House / Sundance Institute, FCAC – Fonds cantonal d’Art Contemporain, FCT – Fundação para a Ciência e a Tecnologia, Film Study Center – Harvard University, Filmaporto – Film Commission, Fondation Luso-Française Elise Senyarich, Fondazione Cariplo, Fondazione In Between Art Film, FMAC – Fonds d’Art Contemporain de la Ville de Genève, Fundação Oriente, Fritt Ord Foundation, FLAD – Fundação Luso-Americana para o Desenvolvimento, Fundação ”la Caixa”, Fundação Botín, Fundação Calouste Gulbenkian, Fundación Donostia / San Sebastián 2016, Fundación Luís Seoane, Garantir Cultura, Gail (India) Limited, HEAD (Geneva School of Art and Design), ICA – Instituto do Cinema e do Audiovisual, INL – International Iberian Nanotechnology Laboratory, INOV-Art, Institut Français, Instituto Camões, ITC – Ethical Fashion Initiative, Lisboa Film Commission, MacDowell, Marra.tein, MEDIA/EURIMAGES – European Cinema Support Fund, République et canton de Genève, Région Provence-Alpes-Côte-d’Azur/CNC, Rockefeller Foundation Bellagio Center, RTP – Rádio e Televisão de Portugal, SDC – Swiss Agency for Development and Cooperation, Sesc, Sonae, Vestnorsk filmsenter, World Meteorological Organization, United Nations, Yaddo.
Anozero – Bienal de Arte Contemporânea de Coimbra, Ashkal Alwan, ART for The World, Atelier–Museu Júlio Pomar, Biennale de l’Image en Mouvement – BIM 2016 / Centre d’Art Contemporain de Genève, BoCA – Biennial of Contemporary Arts, Câmara Municipal do Porto – Galerias Municipais do Porto, CCB – Centro Cultural de Belém, CEENTAA — Comunidade, Ética, Estética, Natureza: Transformação Agrária e Artística, Centro Botín, CEMES — Ernesto de Sousa Intermedia Research Association, CITAR/ Escola das Artes – Universidade Católica Portuguesa, Culturgest – Fundação Caixa Geral de Depósitos, Doctors of the World, EGEAC — Atelier Municipais dos Corucheús, EGEAC — Galerias Municipais de Lisboa, ExperimentaDesign, Festival Internacional de Cine Documental de Navarra Punto de Vista, FICUNAM – Festival Internacional de Cine de la UNAM, FIDLab/FID Marseille, Filmadrid, Fundação de Serralves – Museu de Arte Contemporânea, Galeria Zé dos Bois, gnration, HANGAR – Centro de Investigação Artística, INTERSECCIÓN – Contemporary Audiovisual Art Festival, La Biennale di Venezia Architettura, CPH:DOX/CPH:LAB/CPH: FORUM, MNAC – Museu Nacional de Arte Contemporânea, Salzburger Kunstverein, Sandberg Instituut, Sirius Arts Centre, Solar – Galeria de Arte Cinemática, Tabakalera – Centro Internacional de Cultura Contemporánea, Teatro Praga, Teatro Viriato, Temps d’Images, Terceira Pessoa, The One Minutes Foundation, Thessaloniki International Film Festival, Universidade Católica Portuguesa, among others.
SCREENINGS AND EXHIBITS (SELECTION)
2025 – e-flux (Screening Room/Online), USA; Centro Cultural de Cascais, Portugal; Cineteca Madrid/IFEMA ARCOMadrid International Art Fair, Spain; Lille Métropole Musée d’Art moderne, d’Art contemporain et d’Art brut, France; Contemporânea, Portugal; CINEMATEK – Cinémathèque royale de Belgique, Belgium; Sala Eclip.C, Peru; 2025/2019 - McGill University, Canada; 2025/2022 - SIC – Sound Image Culture, Belgium; 2025/2016 - Mostra Internacional de Cinema de São Paulo, Brazil; 2025/2021/2019/2018/2013/2012/2011/2009 - Doclisboa, Portugal
2024 – CGAC – Centro Galego de Arte Contemporánea, Spain; DAF – Diriyah Art Futures, Saudi Arabia; CPM – Centre Photographique Marseille, France; Batalha Centro de Cinema, Portugal; 2024/2023/2021/2020/2017- Cinemateca Portuguesa, Portugal
2023 – Porto Design Biennale, Portugal; Fotonoviembre – Bienal Internacional de Fotografia de Tenerife, Spain; Kunstnernes Hus, Norway; New Horizons International Film Festival (2013 New Horizons Studio), Poland; 2023/2017 - BoCA– Biennial of Contemporary Arts, Portugal; Brihatta Art Foundation, Bangladesh; Bolzano Film Festival Bozen – BFFB, Italy; ArPa, Brazil; Fundación Proa, Argentina; Kunstnernes Hus Cinema, Norway; 2023/2020/2017/2013 – Proyector International Video Art Festival, Spain; 2023/2021/2019 - Fundação Calouste Gulbenkian, Portugal; 2023/2018/2017/2010 – Internationale Kurzfilmtage Oberhausen, Germany
2022 – Videobrasil, Brazil; Hôtel de Ville de Paris, France; 2022/2021/2019 – Louvre/ Rencontres Internationales Nouveau Cinema et Art Contemporain Paris/Berlin, France; 2022/2021/2018 - Cinemateca de Bogotá ,Colombia; 2022/2017 – Cineteca Nacional, Mexico; 2022/2016 Union Docs, USA; 2022/2021/2019/2018 /2017/2016/ 2013 - Haus der Kulturen der Welt / Rencontres Internationales du Nouveau Cinema et Art Contemporain Paris/Berlin, Germany; 2022/2019/2017/2016/2014 - MALBA, Argentina.
2021 – Transitions Film Festival, Australia; BIEFF – Bucharest International Experimental Film Festival, Romania; ICA London – Institute of Contemporary Arts, UK; DA – Doc Alliance, Czech Republic; EXiS – Experimental Film and Video Festival in Seoul, Korea; Locarno Film Festival, Switzerland; Centro Botín, Spain; 2021/2018/2017- ICA London – Institute of Contemporary Arts / FoR – Frames of Representation, UK; 2021/2017- Centro Cultural Banco do Brasil, Brazil; 2021/2016/2014 - Porto/Post/Doc, Portugal; 2021/2013 - Viennale, Austria
2020 – Golden Apricot Yerevan International Film Festival, Armenia; 2022/2019 - INTERSECCIÓN – Contemporary Audiovisual Art Festival, Spain; 2020/2018/2017 - Sesc Belenzinho/ Sesc Belo Horizonte, Brazil; 2020/2017/2015/2014/2012/2009 - Curtas Vila do Conde, Portugal
2019 – Hongseung International Film Festival, Korea; Costa Rica Festival Internacional de Cine, Costa Rica; Atelier–Museu Júlio Pomar, Portugal; Gasworks Gallery, UK; International Film Festival of India (IFFI), India; 2019/2016 - Círculo de Bellas Artes de Madrid, Spain; 2019/2017 - FICUNAM – Festival Internacional de Cine de la UNAM (2021 Catapulta), México; 2019/2015 - La Casa Encendida, Spain; 2019/2013 - Rome Film Festival, Italy.
2018 – Dokufest, Kosovo; IDFA, The Netherlands; La Biennale di Venezia Architettura, Italy; RIDM – Montreal International Documentary Festival, Canada; MAMI Film Festival Mumbai, India; CHP:DOX (2025 CPH:FORUM), Denmark; Cineteca Nacional, Equador; CinéDOC-Tbilisi, Georgia; Berlinische Galerie, Germany; FIDOCS – Festival Internacional de Documentales de Santiago , Chile; Culturgest – Fundação Caixa Geral de Depósitos, Portugal; Cinemateca Uruguaya, Uruguay; 2018/2017 – Cineteca Madrid, Spain; 2018/2015 - VideoEX, Switzerland; 2018/2015 - WORM – Instituut voor Avantgardistische Recreatie, The Netherlands; 2018/2017/2016/2012 – Centre Pompidou / Rencontres Internationales du Nouveau Cinema et Art Contemporain Paris/Berlin, France; 2018/2016/2014 - Transcinema, Peru; 2018/2016/2013- Museum of the Moving Image, USA; 2018/2016/2013 - Sevilla Film Festival, Spain; 2018/2013- MNAC – Museu Nacional de Arte Contemporânea, Portugal; 2018/2013 - Cinema du Réel, France.
2017 – Woche der Kritik, Germany; Faena Art Center, Argentina; Ural Industrial Biennial, Russia; Tate Modern, UK; Hong Kong International Film Festival, China; The New School, USA; Anthology Film Archives, USA; Thyssen-Bornemisza Art Contemporary (TBA 21), Austria; Tel Aviv Cinematheque, Israel; Solar – Galeria de Arte Cinemática, Portugal; Cineteca Nacional, Chile; Oaxaca FilmFest, Mexico; daadgalerie/Berliner Künstlerprogramm des DAAD, Germany; CCB – Centro Cultural de Belém, Portugal; 2017/2016 - Gijón International Fim Festival, Spain; 2017/2014/2013 - Lima Independiente, Peru; 2017/ 2013 - FID Marseille (2023/2013 FIDLab), France; 2017/2013 - Milano Film Festival, Italy; 2017/2013 - Courtisane Festival, Belgium; 2017/2012 - IndieLisboa, Portugal; 2017/2016/2013 – Berlinale, Germany (2013/2024 Talent Campus/Doc Station), Germany.
2016 – MAAT – Museu de Arte, Arquitectura e Tecnologia, Portugal; CAC Vilnius, Lithuania; Tabakalera – Centro Internacional de Cultura Contemporánea, Spain; Biennale de l'Image en Mouvement, Switzerland; New Directors / New Films (ND/NF), USA; Iran International Film Festival, Iran; Museo Universidad de Navarra, Spain; European Film Festival Scanorama, Lithuania; Ann Arbor Film Festival, USA; Internationale Kurzfilmtage Winterthur, Switzerland; Pančevo Film Festival, Servia; Festival de Cine de Lima, Peru; Salzburger Kunstverein, Austria; 2016/2015 - Bozar Brussels, Belgium; 2016/2014 - Jewish Museum, USA; 2016/2014/2013/2010 - Mostra Internacional de Cinema de Belo Horizonte, Brazil
2015 – Festival du Nouveau Cinéma, Canada; Museu de Arte Contemporânea de Serralves, Portugal; Centre d’Art Contemporain de Genève, Switzerland; Visions du Réel, Switzerland; Berwick Film & Media Arts Festival, UK; Doc’s Kingdom – International Seminar on Documentary Cinema, Portugal; Media City Film Festival, USA; Museo de Arte Carrillo Gil, Mexico; Festival Internacional de Cine Documental de Navarra Punto de Vista, Spain
2014 – BAFICI, Argentina; Museo Nacional Centro de Arte Reina Sofía, Spain; Arsenal – Institut für Film und Videokunst e.V, Germany; MUSAC Museo de Arte Contemporáneo de Castilla y León, Spain
2013 – Open City Documentary Festival, UK; Museo Guggenheim Bilbao, Spain; MoMA / Documentary Fortnight, USA; Harvard Film Archive, USA; Berkeley Art Museum and Pacific Film Archive, USA; UNDERDOX, Germany; Olhar de Cinema – Festival Internacional de Curitiba, Brazil; Documenta Madrid, Spain; 2013/2012 - Festival Internacional de Cine de Mar del Plata, Argentina; 2013/2011 - Galeria Zé dos Bois, Portugal
2011 – de Appel, The Netherlands; Centraal Museum Utrecht, The Netherlands; ExperimentaDesign, Portugal; Doclisboa, Portugal, 2010/2011 -NIMK Nederlands Instituut voor Mediakunst, The Netherlands
2010 – Museum Boijmans Van Beuningen, The Netherlands; International Film Festival Rotterdam, The Netherlands; Impakt Film Festival, The Netherlands; Bogotá International Film Festival, Colombia
ARTISTIC RESIDENCIES
2026 – Fundação Bienal de Arte de Cerveira, Luanda, Angola; 2025 – CEENTAA – Comunidade, Ética, Estética, Natureza: Transformação Agrária e Artística, Portugal; MacDowell, USA; Terceira Pessoa / Fábrica da Criatividade, Portugal; Mucem – Museum of European and Mediterranean Civilizations / Iméra — Institute for Advanced Study of Aix-Marseille University (shortlisted), France; 2024 – CEENTAA – Comunidade, Ética, Estética, Natureza: Transformação Agrária e Artística, Portugal; Yaddo, USA; 2023 – Cité internationale des arts (finalist), France; Civitella Ranieri, Italy; MacDowell, USA; 2022 – MOCA – Museum of Contemporary Art Lagos, Nigeria; MacDowell, USA; Sirius Arts Centre, Ireland; 2021 – Villa Medici (finalist), France; Futurama – Ecossistema Cultural e Artístico do Baixo Alentejo, Portugal; 2020 – Camargo Foundation, France; Bogliasco Foundation, Italy; 2019 – Incognitum — Circunnavegaciones Contemporáneas, Chile; Brown Foundation – Dora Maar House, France; Yaddo, USA; 2018 – MacDowell, USA; BoCA – Biennial of Contemporary Arts, Portugal; 2017 – Universidade Católica Portuguesa, Portugal; Faliro House / Sundance Institute Mediterranean Screenwriters Workshop, Greece; Marble House Project, USA; 2016 – Marra.tein, Lebanon; Ashkal Alwan, Lebanon; 2014 – Bogliasco Foundation, Italy; Yaddo, USA; Rockefeller Foundation Bellagio Center, Italy; Berlinale Talents DocStation, Germany; Berliner Künstlerprogramm des DAAD, Germany; 2013 – MacDowell, USA; New Horizons Studio, Poland; Berlinale Talents, Germany; 2011 – International Documentary Residency, Azores, Portugal; Galeria Zé dos Bois, Portugal; CRIPTA747, Italy; 2010 – Triangle Arts Trust, XEREM, Portugal; Kunsthuis SYB, The Netherlands
COLLABORATORS
Folk Film, Mousse Publishing, O Som e a Furia, Primeira Idade, Stenar Projects, Foi Bonita a Festa, Les Films du Bal, Shellac Sud, Mengamuk Films, JB Multimedia Productions, Terratreme, CRIM, Galeria Miguel Nabinho, Screen, Kubikgallery, Dupla Cena, MILL – Makers in Little Lisbon, McFLy Sound Production and Films, Reccord Industry, Maiadouro, Fine Print, Curtas-Metragens CRL, Bikini, Estraperlo Editora, Agencia Portuguesa da Curta Metragem, ilhas studio, Multa Studio, Sistema Solar, Alexandra Moura, Walla, Ingreme, CEMES - Ernesto de Sousa Intermedia Research Association, ICA London – Institute of Contemporary Arts, Zero em Comportamento, MeelPress, Kinoscope, Tambo Films, Collectif Jeune Cinema, Lidjia Kolovrat, Fernando Brizio Studio, Maria Torrada Studio, Baclava Noir, Márcia Novais Studio, Colectivo 84, Sara Bozzini Studio, Francisco Moreira Studio, Desisto, among others.
ART COLLECTIONS
All the artistic production of Salomé Lamas is available for study and consultation at Tabakalera – Centro Internacional de Cultura Contemporánea, Spain
The non-commercial rights of several productions have been acquired for educational purposes.
Batalha Centro de Cinema Collection, Portugal
BPI – Bibliothèque publique d'information, Centre Georges Pompidou, France
CNAP – Centre National des Arts Plastiques Collection, France
FMAC – Fonds d’Art Contemporain de la Ville de Genève Collection, Switzerland
FCAC – Fonds cantonal d’Art Contemporain Collection, Switzerland
Casa da Arquitectura Collection, Portugal
Coleção António Cachola Collection, Portugal
EGEAC – Atelier-Museu Júlio Pomar Collection, Portugal
Fundação Calouste Gulbenkian Collection, Portugal
Fundação Serralves – Museu de Arte Contemporânea Collection, Portugal
Coleção de Arte Contemporânea do Estado Collection, Portugal
HFA – Harvard Film Archive, Harvard University Collection, USA
QUARCO – Quartel de Arte Contemporânea de Abrantes, Coleção Figueiredo Ribeiro Collection, Portugal
Fundação EDP, MAAT – Museu de Arte, Arquitetura e Tecnologia Collection, Portugal
PUBLICATIONS
Publications are available through the editors’ online services. They are available at selected and exclusive bookshops with a focus on theory and contemporary practices in art, architecture, design, and related fields, as well as museum bookstores, mall bookstores, and other specialist retailers.
DISTRIBUTION
The productions are available through distributors for screenings and exhibitions and on multiple streaming platforms worldwide.