ARTIST STATEMENT
In a fertile occupation of no man’s land, Lamas refers to her work as critical media practice parafictions to address the efforts to expand the interstice found between the real and the symbolic.
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, treading new paths in form and content, challenging the conventional methods of production, modes of exhibition and the lines between various filmic and artistic forms of aesthetic expression.
As a cartographer of human activity, in a practice based in research she has been analysing in different scales, social formations, mappings, systems and gestures. Her practice is often drawn to critical zones (geographies of sacrifice); subjects difficult to describe, judge and inquire. These liminal territories or marginal characters are brought to the public for critical discussion.
These works of either modified ethnography, performative or allegoric features, show an interest in the intrinsic relationship between storytelling, memory, and history; while using primarily time-based media to explore the traumatically repressed, seemingly unrepresentable, or historically invisible, from the horrors of colonial violence to the landscapes of global capital.
Actively exploring the capacities and limitations of transdisciplinary and transmedial situations in contemporary culture and exploring the connections between aesthetics, materiality, and politics – theory and praxis are intrinsically linked to each other.
Moreover, Lamas conveys a multidisciplinary approach, critically addressing the social and economic roles of media production, in the stages of development, production, exhibition, and distribution with outcomes ranging from publications, film, video and sound installation. Her approach to education includes and overspills the framework of systematic, academic, and institutional teaching.
In a fertile occupation of no man’s land, Lamas refers to her work as critical media practice parafictions to address the efforts to expand the interstice found between the real and the symbolic.
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, treading new paths in form and content, challenging the conventional methods of production, modes of exhibition and the lines between various filmic and artistic forms of aesthetic expression.
As a cartographer of human activity, in a practice based in research she has been analysing in different scales, social formations, mappings, systems and gestures. Her practice is often drawn to critical zones (geographies of sacrifice); subjects difficult to describe, judge and inquire. These liminal territories or marginal characters are brought to the public for critical discussion.
These works of either modified ethnography, performative or allegoric features, show an interest in the intrinsic relationship between storytelling, memory, and history; while using primarily time-based media to explore the traumatically repressed, seemingly unrepresentable, or historically invisible, from the horrors of colonial violence to the landscapes of global capital.
Actively exploring the capacities and limitations of transdisciplinary and transmedial situations in contemporary culture and exploring the connections between aesthetics, materiality, and politics – theory and praxis are intrinsically linked to each other.
Moreover, Lamas conveys a multidisciplinary approach, critically addressing the social and economic roles of media production, in the stages of development, production, exhibition, and distribution with outcomes ranging from publications, film, video and sound installation. Her approach to education includes and overspills the framework of systematic, academic, and institutional teaching.
BIO NOTE
Salomé Lamas (Lisbon) 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 both in art venues and film festivals such as Berlinale, Locarno, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC – Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA – Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB – Centro Cultural de Belém, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genève, Bozar, Louvre, Tabakalera, ICA London, TBA 21 Foundation, CAC Vilnius, MALBA, Haus der Kulturen der Welt, FAEMA, SESC São Paulo, MAAT, La Biennale di Venezia Architettura, among others.
Lamas was granted several fellowships such as the Gardner Film Study Center Fellowship – Harvard University, Film Study Center-Harvard Fellowship, The Rockefeller Foundation – Bellagio Center, Brown Foundation – Dora Maar House, Fundación Botín, Fundação Calouste Gulbenkian, Sundance, Bogliasco Foundation, Luso-American Development Foundation – FLAD, MacDowell, Yaddo, CNAP – Centre National des Arts Plastiques, Camargo Foundation, Civitella Ranieri, Berliner Künstlerprogramm des DAAD.
She is adjunct professor at ESAD.CR School of Arts and Design and collaborates with Universidade Católica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Fúria and Primeira Idade and is represented by Kubikgallery and Galeria Miguel Nabinho.
After being in the direction of APR - Director’s Portuguese Association). In 2020 starts with the support of a group of artists the creation and implementation of AAVP - Portuguese Association of Visual Artists.
Salomé Lamas (Lisbon) 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 both in art venues and film festivals such as Berlinale, Locarno, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC – Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA – Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB – Centro Cultural de Belém, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genève, Bozar, Louvre, Tabakalera, ICA London, TBA 21 Foundation, CAC Vilnius, MALBA, Haus der Kulturen der Welt, FAEMA, SESC São Paulo, MAAT, La Biennale di Venezia Architettura, among others.
Lamas was granted several fellowships such as the Gardner Film Study Center Fellowship – Harvard University, Film Study Center-Harvard Fellowship, The Rockefeller Foundation – Bellagio Center, Brown Foundation – Dora Maar House, Fundación Botín, Fundação Calouste Gulbenkian, Sundance, Bogliasco Foundation, Luso-American Development Foundation – FLAD, MacDowell, Yaddo, CNAP – Centre National des Arts Plastiques, Camargo Foundation, Civitella Ranieri, Berliner Künstlerprogramm des DAAD.
She is adjunct professor at ESAD.CR School of Arts and Design and collaborates with Universidade Católica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Fúria and Primeira Idade and is represented by Kubikgallery and Galeria Miguel Nabinho.
After being in the direction of APR - Director’s Portuguese Association). In 2020 starts with the support of a group of artists the creation and implementation of AAVP - Portuguese Association of Visual Artists.
SELECTED WORKS
OURO E CINZA/GOLD AND ASHES [in production], VERTIGO [in development], PANTHERAS [in development], LA VAGUE / THE WAVE [2022], GAIA [2021] (What if the Meteorites would Talk [2021] instalation, Gaia [2021] record-cum-publication, Gaia: What if the Meteorites would Talk [2021] film) HOTEL ROYAL [2021], O TEATRO E A PESTE/THEATER AND THE PLAGUE [2020] (co-directed with John Romão) EXTRACTION: THE RAFT OF THE MEDUSA [2019-2020] (Extraction: the Raft of the Medusa [2019] film, publication, Extraction: the Raft of the Medusa [2020] film, video installation) , O CORPO, A SEXUALIDADE E O ERÓTICO NA OBRA DE JÚLIO POMAR / THE BODY, SEXUALITY AND THE EROTIC IN THE WORK OF JÚLIO POMAR [2019] (audiovisual installation, publication) FATAMORGANA [2016-2019] (Fatamorgana [2017] theatre play, ©Fatamorgana [2018-2019] film, 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] film, Fatamorgana [2019] publication), DREAM WORLD [2018] (photography), HANGAR-TERMINAL-METRO [2018], EXTINÇÃO / EXTINCTION [2018], UBI SUNT I [2017], UBI SUNT II [2017] (video installation - in collaboration with Christoph Both-Asmus), UBI SUNT III [2017] (video installation - in collaboration with Christoph Both-Asmus), COUP DE GRACE [2017], HORIZON NOZIROH [2017] (video installation, co-directed with Gregorio Graziosi in collaboration with Christoph Both-Asmus), AUTO RETRATO / SELF PORTRAIT [2016-2018] (video installation, photogravure) …RIOTS AND RITUALS [2016], THE BURIAL OF THE DEAD [2016] (video installation), PARAFICTION (SELECTED WORKS 2010 – 2016) [2016] (publication), ELDORADO XXI [2016], THE TOWER [2015], MOUNT ANANEA (installation) [2015], NORTE/NORTH: TRIAL BY FIRE (video installation) [2015], LE BOUDIN [2014], THEATRUM ORBIS TERRARUM [2013], TERRA DE NINGUÉM / NO MAN’S LAND [2012], A COMUNIDADE / THE COMMUNITY [2012], ENCOUNTERS WITH LANDSCAPE3X [2012], VHS - VIDEO HOME SYSTEM [2010-2012], GOLDEN DAWN [2011], IMPERIAL GIRL [2010], JOTTA: A MINHA MALADRESSE É UMA FORMA DE DELICATESSE [2009] (co-directed with Francisco Moreira).
OURO E CINZA/GOLD AND ASHES [in production], VERTIGO [in development], PANTHERAS [in development], LA VAGUE / THE WAVE [2022], GAIA [2021] (What if the Meteorites would Talk [2021] instalation, Gaia [2021] record-cum-publication, Gaia: What if the Meteorites would Talk [2021] film) HOTEL ROYAL [2021], O TEATRO E A PESTE/THEATER AND THE PLAGUE [2020] (co-directed with John Romão) EXTRACTION: THE RAFT OF THE MEDUSA [2019-2020] (Extraction: the Raft of the Medusa [2019] film, publication, Extraction: the Raft of the Medusa [2020] film, video installation) , O CORPO, A SEXUALIDADE E O ERÓTICO NA OBRA DE JÚLIO POMAR / THE BODY, SEXUALITY AND THE EROTIC IN THE WORK OF JÚLIO POMAR [2019] (audiovisual installation, publication) FATAMORGANA [2016-2019] (Fatamorgana [2017] theatre play, ©Fatamorgana [2018-2019] film, 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] film, Fatamorgana [2019] publication), DREAM WORLD [2018] (photography), HANGAR-TERMINAL-METRO [2018], EXTINÇÃO / EXTINCTION [2018], UBI SUNT I [2017], UBI SUNT II [2017] (video installation - in collaboration with Christoph Both-Asmus), UBI SUNT III [2017] (video installation - in collaboration with Christoph Both-Asmus), COUP DE GRACE [2017], HORIZON NOZIROH [2017] (video installation, co-directed with Gregorio Graziosi in collaboration with Christoph Both-Asmus), AUTO RETRATO / SELF PORTRAIT [2016-2018] (video installation, photogravure) …RIOTS AND RITUALS [2016], THE BURIAL OF THE DEAD [2016] (video installation), PARAFICTION (SELECTED WORKS 2010 – 2016) [2016] (publication), ELDORADO XXI [2016], THE TOWER [2015], MOUNT ANANEA (installation) [2015], NORTE/NORTH: TRIAL BY FIRE (video installation) [2015], LE BOUDIN [2014], THEATRUM ORBIS TERRARUM [2013], TERRA DE NINGUÉM / NO MAN’S LAND [2012], A COMUNIDADE / THE COMMUNITY [2012], ENCOUNTERS WITH LANDSCAPE3X [2012], VHS - VIDEO HOME SYSTEM [2010-2012], GOLDEN DAWN [2011], IMPERIAL GIRL [2010], JOTTA: A MINHA MALADRESSE É UMA FORMA DE DELICATESSE [2009] (co-directed with Francisco Moreira).