https://salomelamas.info salomelamas Tue, 03 Oct 2023 21:15:41 +0000 https://salomelamas.info en https://salomelamas.info/Lamaland Sun, 01 Oct 2023 17:09:16 +0000 salomelamas https://salomelamas.info/Lamaland <img width="2562" height="1215" width_o="2562" height_o="1215" data-src="https://freight.cargo.site/t/original/i/d7999124d6465d009090896d7872545613bd401ce494a47289e0fb6e4cc53770/logo2_black-grey.png" data-mid="192380035" border="0" data-scale="50" data-no-zoom alt="LAMALAND | Salom&eacute; Lamas" data-caption="LAMALAND | Salomé Lamas" src="https://freight.cargo.site/w/1000/i/d7999124d6465d009090896d7872545613bd401ce494a47289e0fb6e4cc53770/logo2_black-grey.png" /> 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. &nbsp; &nbsp; Lamaland’s analytical nature translates into meticulous visual outcomes and production strategies that range from film, publications, and installations. On Parafiction https://salomelamas.info/Projects Tue, 03 Oct 2023 21:05:33 +0000 salomelamas https://salomelamas.info/Projects Production Parafiction II In developmentPantheras Shifting Sands Problems of translation and critique in Parafiction: On the creative act and other pragmatisms Projects 2022/25 — Gold and Ashes, Project 2025 — Ouro e Cinza / Gold and Ashes 2025 — Gold and Ashes 2025 — Gold and Ashes&nbsp;| Redux2022 — La Vague / The Wave 2021/22 — Gaia, Project 2021 — What if the Meteorites Would Talk 2021 — Gaia: What if the Meteorites Would Talk 2022 — Gaia 2020/21 — Hotel Royal, Project 2020/21 — HR 2021 — Hotel Royal 2019/20 — Extraction: The Raft Of The Medusa, Project2019 — Extraction: The Raft Of The Medusa (For Interdependence) 2019 — Extraction: The Raft Of The Medusa2020 — Extraction: The Raft Of The Medusa 2020 — Extraction: The Raft Of The Medusa 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 2018 — Terminal, Metro, Hangar, Project2018 — Terminal 2018 — Metro 2018 — Hangar 2016/19 — Fatamorgana, Project2017 — Fatamorgana2018/19 — ©Fatamorgana2018 — Fatamorgana2018 — What Do We Talk About When We Talk About Fatamorgana2018 — Affektenlehre2019 — Fatamorgana 2015/18 – Extinction, Project2015 — A Torre / The Tower 2017/18 — Autorretrato / Self-Portrait 2017 — Horizon Noziroh 2018 — Extinção / Extinction 2018 — Dream World 2017 — Ubi Sunt I-III, Project2017 — Ubi Sunt I 2017 — Ubi Sunt II 2017 — Ubi Sunt III 2017 — Coup de Grâce 2015/16 — Eldorado XXI, Project 2015 — Mount Ananea2016 — Eldorado XXI 2016 — The Burial of the Dead 2016 — …Riots and Rituals 2015 — Norte / North: Trial by Fire 2013 — Theatrum Orbis Terrarum, Project2013 — Theatrum Orbis Terrarum 2013 — Theatrum Orbis Terrarum 2012/14 — No Man’s Land, Project2012 — Terra de Ninguém / No Man’s Land 2014 — Le Boudin 2012 — Encounters With Landscape (X3) 2012 — A Comunidade / The Community 2008/12 — Early Works 2010/12 — VHS Video Home System 2011 — Golden Dawn2010 — Imperial Girl 2009 — Jotta: A Minha Maladresse É Uma Forma De Delicatesse2008 — Swan Girl Palimpsest Or It Rained For Two Days, And The Landscape Has Changed https://salomelamas.info/Publications Tue, 03 Oct 2023 21:15:41 +0000 salomelamas https://salomelamas.info/Publications Publications 2025 — Parafiction II 2025 — Gold and Ashes 2022 — Gaia 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 2019 — Extraction: The Raft Of The Medusa 2019 — Fatamorgana 2018 — Extinction/ção 2016 — Parafiction 2015 — Mount Ananea (5853) https://salomelamas.info/Press-Catalogues Thu, 24 Aug 2023 14:53:50 +0000 salomelamas https://salomelamas.info/Press-Catalogues Salomé Lamas┃Lamaland has been featured in numerous magazines, newspapers, specialized publications, and exhibition catalogues. Frieze, Sight and Sound, BOMB, Screen International, Cinema Scope, Filmmaker’s Magazine, E-flux, Brooklyn Rail, Mubi Notebook, Variety, Fabrique du Cinéma, Hollywood Reporter, Caiman, Film Comment, and daily newspapers. For the inventory of publications and catalogues, please refer to the screenings and exhibitions.Screenings and Exhibitions https://salomelamas.info/Studio Thu, 24 Aug 2023 15:19:43 +0000 salomelamas https://salomelamas.info/Studio 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&nbsp;&nbsp;– 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&nbsp; 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 PROJECTS2022/25 – 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.&nbsp; 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,&nbsp;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;&nbsp;2023/2021/2019 - Fundação Calouste Gulbenkian, Portugal; 2023/2018/2017/2010 – Internationale Kurzfilmtage Oberhausen, Germany2022 – 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;&nbsp;DA – Doc Alliance,&nbsp;Czech Republic;&nbsp;EXiS –&nbsp;&nbsp;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, Austria2020 – 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, Portugal2019 – 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&nbsp;&nbsp;(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&nbsp;(ND/NF), USA; Iran International Film Festival, Iran; Museo Universidad de Navarra, Spain;&nbsp;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, Brazil2015 – Festival du Nouveau Cinéma, Canada; Museu de Arte Contemporânea de Serralves, Portugal;&nbsp;Centre d’Art Contemporain de Genève, Switzerland; Visions du Réel, Switzerland; Berwick Film &amp; Media Arts Festival, UK; Doc’s Kingdom – International&nbsp;&nbsp;Seminar on Documentary Cinema, Portugal; Media City Film Festival, USA; Museo de Arte Carrillo Gil, Mexico; Festival Internacional de Cine Documental de Navarra&nbsp;Punto de Vista, Spain2014 – 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, Spain2013 – 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, Portugal2011 – de Appel, The Netherlands; Centraal Museum Utrecht, The Netherlands; ExperimentaDesign, Portugal; Doclisboa, Portugal, 2010/2011 -NIMK Nederlands Instituut voor Mediakunst, The Netherlands2010 – 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;&nbsp;2025&nbsp;– 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;&nbsp;2024&nbsp;– CEENTAA – Comunidade, Ética, Estética, Natureza: Transformação Agrária e Artística, Portugal; Yaddo, USA;&nbsp;2023&nbsp;– Cité internationale des arts (finalist), France; Civitella Ranieri, Italy; MacDowell, USA;&nbsp;2022&nbsp;– MOCA – Museum of Contemporary Art Lagos, Nigeria; MacDowell, USA; Sirius Arts Centre, Ireland;&nbsp;2021&nbsp;– Villa Medici (finalist), France; Futurama – Ecossistema Cultural e Artístico do Baixo Alentejo, Portugal;&nbsp;2020&nbsp;– Camargo Foundation, France; Bogliasco Foundation, Italy;&nbsp;2019&nbsp;– Incognitum — Circunnavegaciones Contemporáneas, Chile; Brown Foundation – Dora Maar House, France; Yaddo, USA;&nbsp;2018&nbsp;– MacDowell, USA; BoCA – Biennial of Contemporary Arts, Portugal;&nbsp;2017&nbsp;– Universidade Católica Portuguesa, Portugal; Faliro House / Sundance Institute Mediterranean Screenwriters Workshop, Greece; Marble House Project, USA;&nbsp;2016&nbsp;– Marra.tein, Lebanon; Ashkal Alwan, Lebanon;&nbsp;2014&nbsp;– Bogliasco Foundation, Italy; Yaddo, USA; Rockefeller Foundation Bellagio Center, Italy; Berlinale Talents DocStation, Germany; Berliner Künstlerprogramm des DAAD, Germany;&nbsp;2013&nbsp;– MacDowell, USA; New Horizons Studio, Poland; Berlinale Talents, Germany;&nbsp;2011&nbsp;– International Documentary Residency, Azores, Portugal; Galeria Zé dos Bois, Portugal; CRIPTA747, Italy;&nbsp;2010&nbsp;– 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,&nbsp;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, PortugalBPI – Bibliothèque publique d'information, Centre Georges Pompidou, FranceCNAP – Centre National des Arts Plastiques Collection, FranceFMAC – Fonds d’Art Contemporain de la Ville de Genève Collection, SwitzerlandFCAC – Fonds cantonal d’Art Contemporain Collection, SwitzerlandCasa da Arquitectura Collection, PortugalColeção António Cachola Collection, PortugalEGEAC – Atelier-Museu Júlio Pomar&nbsp;Collection, PortugalFundação Calouste Gulbenkian Collection, PortugalFundação Serralves – Museu de Arte Contemporânea Collection, PortugalColeção de Arte Contemporânea do Estado Collection, PortugalHFA – Harvard Film Archive, Harvard University Collection, USAQUARCO – Quartel de Arte Contemporânea de Abrantes, Coleção Figueiredo Ribeiro Collection, PortugalFundação 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. https://salomelamas.info/Contacts-Representation-1 Thu, 24 Aug 2023 15:23:54 +0000 salomelamas https://salomelamas.info/Contacts-Representation-1 LAMALAND Salomé Lamas Complexo de Ateliers Municipais Palácio dos Coruchéus R. Alberto de Oliveira 52 BL E, Studio 9 1700-019 Lisboa, Portugal T +351 916 644 268 E salomelamas [at] hotmail.com W salomelamas.infoVimeo: vimeo.com/salomelamas IG: instagram.com/salomelamas FILM COMPANY Folk Film ASGeorgernes Verft 12 5011 Bergen, Norway T&nbsp;+47 94 982 169 E anita@folk.film W folk.film O Som e a Fúria Rua Padre Luís Aparício, 11A 1150-248 Lisboa, Portugal T +351 213 582 518 E geral [at] osomeafuria.com W osomeafuria.com Primeira Idade Travessa da Ilha do Grilo, 40, 1900-262 Lisboa, PortugalT +351 916 588 889 E cinema [at] primeira-idade.pt W instagram.com/primeira__idade ART GALLERY Galeria Miguel Nabinho Rua. Tenente Ferreira Durão, 18 B, 1350-315 Lisboa, Portugal T +351 213 830 834 M +351 917 250 033 E info [at] miguelnabinho.com W miguelnabinho.com KubikgalleryRua da Restauração, 6 4050-499 Porto, PortugalT +351 226 090 706M +351 917 125 737E info [at] kubikgallery.comW kubikgallery.com 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, PortugalBPI – Bibliothèque publique d'information, Centre Georges Pompidou, FranceCNAP – Centre National des Arts Plastiques Collection, FranceFMAC – Fonds d’Art Contemporain de la Ville de Genève Collection, SwitzerlandFCAC – Fonds cantonal d’Art Contemporain Collection, SwitzerlandCasa da Arquitectura Collection, PortugalColeção António Cachola Collection, PortugalEGEAC – Atelier-Museu Júlio Pomar&nbsp;Collection, PortugalFundação Calouste Gulbenkian Collection, PortugalFundação Serralves – Museu de Arte Contemporânea Collection, PortugalColeção de Arte Contemporânea do Estado Collection, PortugalHFA – Harvard Film Archive, Harvard University Collection, USAQUARCO – Quartel de Arte Contemporânea de Abrantes, Coleção Figueiredo Ribeiro Collection, PortugalFundação 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. FILM DISTRIBUTION O Som e a FúriaRua Padre Luís Aparício, 11A 1150-248 Lisboa, Portugal T +351 213 582 518E geral [at] osomeafuria.comW osomeafuria.com Agência – Portuguese Short Film AgencyCurtas Metragens CRLPraça José Régio, 110 4480-718 Vila do Conde, PortugalT +351 252 646 683E agencia [at] curtas.ptW agencia.curtas.pt Collectif Jeune Cinemac/o Commune Image 8, rue Godillot 93400 Saint-Ouen, FranceT +33 07 69 61 53 57E admin [at] cjcinema.org W cjcinema.org ART for The World15 Route de Florissant, 1206 Geneva, SwitzerlandT +41 22 789 15 57 E projects[at]artfortheworld.net W artfortheworld.net Shellac FilmsFriche La Belle de Mai41 rue Jobin, 13003 Marseille, FranceT +33 4 95 04 95 92W shellacfilms.com ICA London – Institute of Contemporary Arts12 Carlton House Terrace, SW1Y 5AH, London, UKT +44 020 7930 3647 E theatricalbookings [at] ica.artW&nbsp;ica.art/films/distribution Zero em ComportamentoRua Almirante Barroso 11, 1, 1000-012 Lisbon, PortugalT +351 919 819 597E producao [at] zeroemcomportamento.orgW zeroemcomportamento.org Abordar Casa de Películas C/ de Coll, 18 1º 08027 Barcelone, SpainT +34 933 52 22 13E lgisbert [at]&nbsp;abordar.euW facebook.com/Abordar.CasadePeliculas VOD PLATFORMS MUBI FILMIN KINOSCOPE DOC ALLIANCE FESTIVAL SCOPE EYE FILM MUSEUM TV CINE PRIME VIDEO APPLE TVTHIS IS SHORT – The Streaming Service of the European Short Film Network EDUCATION Universidade de Lisboa Faculdade de Belas Artes de Lisboa Largo da Academia Nacional de Belas-Artes 1249-058 Lisboa, PortugalT +351 213 252 100 E academicos [at] belasartes.ulisboa.pt W belasartes.ulisboa.pt ASSOCIATIONS APR - Associação Portuguesa de Realizadores Casa do Cinema Rua da Rosa 277, 2 1200-385, Lisboa, PortugalE apr.realizadores [at] gmail.com W aprealizadores.com/en AAVP - Associação de Artistas Visuais em PortugalE aavp.artistas.gmail.com W aavp.weebly.com https://salomelamas.info/VERTIGO Thu, 20 May 2021 10:30:22 +0000 salomelamas https://salomelamas.info/VERTIGO ︎ VIMEO VERTIGO (in development) Production: Lamaland, O Som e a Fúria Development support: Futurama – Boca Associação Cultural, Câmara Municipal de Mértola, Sirius Arts Centre, ICA – Instituto do Cinema e Audiovisual.&nbsp; Vertigo uses the structure of a journey, extended from the purchase of the ticket,moments before boarding (the beginning), to the disembarkation (the end), and trainroutes around the world to engage with contemporary philosophers/passengers as wellas with a range of people/passengers with diverse backgrounds. Along the way we willmake several stops, coinciding with crucial questions, such as the meaning of space andtime, or the nature of society and existence. We will also take detours that consist ofmeditations on cultural artifacts associated with the passenger's universe.Through a fascinating collection of interviews the film comments on the paradigm shiftfaced by humanity today to open new ways of considering human, technological andanimal subjectivity, language, politics, and metaphysics.O Som e a Fúria Lamaland Futurama https://salomelamas.info/al-le-go-ry Tue, 02 Mar 2021 17:04:17 +0000 salomelamas https://salomelamas.info/al-le-go-ry ︎ VIMEO AL.LE.GO.RY&nbsp; (in development) Production: Terratreme Development support: ICA – Instituto do Cinema e Audiovisual Additional support: Camargo Foundation&nbsp; The project was developed under the frame of a commission by Terratreme. In Al.le.go.ry, a family, where some people confuse reality with what are mere shadows projected on the walls, determines the uselessness of all authoritarianism. If all time is eternally present, all time is unredeemable.Terratreme https://salomelamas.info/OURO-E-CINZA-1 Wed, 16 Aug 2023 21:56:57 +0000 salomelamas https://salomelamas.info/OURO-E-CINZA-1 ︎ VIMEO Ashes 2022–2025, Project[Ouro e Cinza/Gold and Ashes 2025 — Core of the Project, Gold and Ashes | Redux 2025, Gold and Ashes 2025] Gold and Ashes, Project (2022–2025), comprises the film Ouro e Cinza / Gold and Ashes (2025) — core of the project, the installation Gold and Ashes | Redux (2025), and the record-cum-publication Gold and Ashes (2025). Gold and Ashes unfolds through a play of internal and external dualities—ontological, epistemological—reflected not only in its characters but also in the temporal and spatial dimensions where the action occurs. It is structured around two intersecting planes: a concrete plane and an abstract plane, conceived as mirrors of human subjectivity. Two female actors perform it: a) On the concrete plane, a mother and a daughter are embedded in a social sphere outlined by complex communication models and conventions (such as kinship). Here, reality appears as a constructed space—an inhabited drawing—that holds existential quests.b) On the abstract plane, two disconnected entities (not sure if aware of each other) are caught in a mental labyrinth. This plane is articulated through a para-philosophical text that addresses their relationship, exposing power dynamics, conflicting emotions, and drawing parallels with humanity’s relation to the Earth—a reality shaped by symbolic and imaginary articulations, fractured by the loss of the social, the political, and the spiritual. The film weaves together cognitive systems, societal models, and civilizational paradigms, while acknowledging both human evolution and human limitations. It traces two overarching narratives—naturalism and (anti)(eco-geo) constructivism, entwined with the myth of the Anthropocene—and stages them under two timeless perspectives: progress and apocalypse. &nbsp; &nbsp; Ultimately, Gold and Ashes&nbsp;questions our capacity to rebuild and reorient the planet away from socio-ecological collapse. And seeks to show what it means to value the Earth, and humanity itself, as an irreplaceable becoming: a trajectory that cannot be replicated, remade, or mastered. The project was self-initiated. LamalandO Som e a Fúria Foi bonita a Festa OURO E CINZA / GOLD AND ASHES (2025) 4K HD video, 2:39, color, Dolby 5.1 sound, 89 min., Portugal Production: O Som e a Fúria Coproduction: Foi Bonita a Festa Development support: Bogliasco Foundation, MacDowell, FLAD – Fundação Luso-Americana para o Desenvolvimento, Civitella Ranieri, Buffett Institute for Global Affairs — Northwestern University, YaddoAdditional support: Câmara Municipal de Lisboa – Lisboa Film Commission, Fundación “la Caixa.” Support:&nbsp;ICA – Instituto do Cinema e do Audiovisual, MEDIA – Europa Criativa, RTP – Rádio e Televisão de Portugal, Filmaporto – Film Commission Our first object of inquiry and care should be life. We know the reason for that, as we are living beings in a situation in which the conditions of life are endangered. What has no place in this ecological discourse is death. The fact that death is difficult to acknowledge is not new, but in our contemporary situation, death has a new face. &nbsp; &nbsp; Gold and Ashes extends beyond representation to become an intimate act of excavation that proposes to mediate — materially, politically, and metaphysically — the reappropriation of death as power and our sovereignty as mortal beings in the private and social spheres. The film also speculates on the implications of representing trauma and the aesthetics of disappearance. O Som e a Furia Foi bonita a Festa GOLD AND ASHES | REDUX&nbsp;(2025) 4K HD video, 2:39, color, Dolby 5.1 sound, 30 min., Portugal Production: Lamaland Coproduction: Primeira IdadeAdditional support: Yaddo Support: Fundación “la Caixa”, DGArtes – Direção-Geral das ArtesProduced with materials from Gold and Ashes (2025) A multidisciplinary installation that inquires how scale, which establishes technological conditions and expectations that cement the positions from which we perceive the world, can be reimagined. Lamaland Fundación “la Caixa” DGArtes – Direção-Geral das Artes GOLD AND ASHES&nbsp;(2025) Record-cum-publication: 310 x 310 mm, Portugal/Italy Publication: 310 x 310 mm, 24 pp, printed in 5 colors. Record: 310 x 309 mm, 140g, 2 tracks. Record sleeve printed reverse-side in 2 colors Language: English Text: Salomé Lamas in collaboration with Isabel Pettermann (Concrete plane), Isabel Ramos (Abstract plane), Frédéric Neyrat, Lucas Ferraço Nassif Sound: Miguel Martins Design: Multa Production: Lamaland, Primeira Idade&nbsp; Printing: Mota Soares Pressing plant: Grama Publishing, distribution: Mousse Publishing ISBN: 978-88-6749-668-6 A record-cum-publication that unfolds through sound and text by transposing and transforming the soundtrack, dialogues, and images of the film Ouro e Cinza / Gold and Ashes (2025). It features text by Frédéric Neyrat, Isabel Pettermann, Isabel Ramos, Lucas Ferraço Nassif, and Salomé Lamas and sound by Miguel Martins.&nbsp; &nbsp; The experience is intended to be intimate and meditative, resonating between the spoken and unspoken, between sound and silence. 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height="1238" width_o="2966" height_o="1238" data-src="https://freight.cargo.site/t/original/i/56be27eee6f5a12f7382630200cf3e2af1875daf7681f963075e7d635ba9d825/O_C-PC4B.png" data-mid="213941740" border="0" src="https://freight.cargo.site/w/1000/i/56be27eee6f5a12f7382630200cf3e2af1875daf7681f963075e7d635ba9d825/O_C-PC4B.png" /> <img width="2966" height="1236" width_o="2966" height_o="1236" data-src="https://freight.cargo.site/t/original/i/e69b69a68b952b555220de646611961115b54502a946fa5ab549b882caa1f334/O_C-PC5A.png" data-mid="213941741" border="0" src="https://freight.cargo.site/w/1000/i/e69b69a68b952b555220de646611961115b54502a946fa5ab549b882caa1f334/O_C-PC5A.png" /> <img width="3190" height="1330" width_o="3190" height_o="1330" data-src="https://freight.cargo.site/t/original/i/6600f44dfc01751d687eeac8d42db7a1d0fefa71f36144b29af95cc460aad0d8/O_C-PC5B.png" data-mid="213941742" border="0" src="https://freight.cargo.site/w/1000/i/6600f44dfc01751d687eeac8d42db7a1d0fefa71f36144b29af95cc460aad0d8/O_C-PC5B.png" /> <img width="2972" height="1242" width_o="2972" height_o="1242" data-src="https://freight.cargo.site/t/original/i/e736cc3cd47a9e8df6d2af297ddcbc6b038741ff3bb9a96af38be67cbc99a342/O_C-AP2.png" data-mid="213941706" border="0" src="https://freight.cargo.site/w/1000/i/e736cc3cd47a9e8df6d2af297ddcbc6b038741ff3bb9a96af38be67cbc99a342/O_C-AP2.png" /> <img width="2966" height="1240" width_o="2966" height_o="1240" data-src="https://freight.cargo.site/t/original/i/4b80b75cdffe93323775e633d2213545b1b849dc70a8de00b87ce6b845ee8022/O_C-AP1.png" data-mid="213941705" border="0" src="https://freight.cargo.site/w/1000/i/4b80b75cdffe93323775e633d2213545b1b849dc70a8de00b87ce6b845ee8022/O_C-AP1.png" /> <img width="2966" height="1234" width_o="2966" height_o="1234" data-src="https://freight.cargo.site/t/original/i/e16807c77169b68d4c332b345b1be9422a33a210ae8898aea0d0361055d81920/O_C-AP3.png" data-mid="213941710" border="0" src="https://freight.cargo.site/w/1000/i/e16807c77169b68d4c332b345b1be9422a33a210ae8898aea0d0361055d81920/O_C-AP3.png" /> <img width="2974" height="1246" width_o="2974" height_o="1246" data-src="https://freight.cargo.site/t/original/i/bcc70f95fb4b808b0d1866cbe86feb31e932437b0313e9a387fd4a9342dd790b/O_C-AP4.png" data-mid="213941712" border="0" src="https://freight.cargo.site/w/1000/i/bcc70f95fb4b808b0d1866cbe86feb31e932437b0313e9a387fd4a9342dd790b/O_C-AP4.png" /> […] The artist’s interest in impenetrable, politically ambiguous contexts is guided by concerns and the need to problematize reality that otherwise would not be possible. The web of relations making up the socio-political fabric of her projects is made visible through representational strategies, for which she adopted the term parafiction. […] A parafiction would be something in which fiction has been perverted, altered, modified or pushed beyond its point of reference, as opposed to remaining within the boundaries of the category of fiction. It can also be understood as a “simulation” of fiction, pointing to a distortion of the border around what is considered fiction, thus reaching what is on the other side of that border: that is, the world of non-fiction, or seeking the “real” world. Thus, instead of fiction being used to blur the border with non-fiction, it is used as a way of expanding and transcending those boundaries. Salomé Lamas departs from the principle that we do not have access to a stable reality. Instead we have an excess of meanings, interpretations, explanations, manipulations, (de)constructions and evaluations that go into narratives and systems that sustain and occupy us. Consequently, the need for appropriating the idea of parafiction stems from the questioning of how human subjectivity is formed, drawing on psychoanalysis, with the aim of clarifying and expanding concepts such as real (something that is out of reach), reality, symbolic and imaginary. […]&nbsp; Sara Magno, On Parafiction I wondered if there really is a separation, in what Jacques Lacan would propose of an alienation (in language) and a separation (of the daughter from her mother - castration - which we find in the concept of lamella, of the libido that separates the breast from the mouth and allows breastfeeding, which supplies the drives by occupying the erogenous zones). But isn't the concept of the unconscious already saying that separation is impossible, that something revolts in the face of separation? Chantal Akerman only lives as long as her mother lives. The death of the mother is the death of Chantal Akerman. The impossible, the real, is separation. What happens if we think that the separation - or rather: the separations - are in the real, not in the symbolic? They, the separations, are atomic, molecular. Separations are the power of anti-gravitational delirium and dreams that take place in the real; they are anti-molar because they escape the fall of bodies by producing other bodies. Gilles Deleuze and Félix Guattari propose an orphaned unconscious in order to disorganize a familist, familiar unconscious. Their film places the name Irma on a daughter, in a strange familiarity that produces a question: is every daughter a sister? Who would be the mother of these sisters? Orphaned sisters? The process of analyzing two orphaned sisters. The death of parents is to make them our siblings; is that what we can learn from psychoanalysis? Is the process of analysis always like this: becoming siblings with parents and others? In the unconscious, we are nomadic siblings, problem children living in temporary orphanages. Lucas Ferraço Nassif, Gold and Ashes […] Communication as experience is co-respondence, a connection that requires separation to happens. It is not preceded by anything, even if, when it takes place, everything that precedes it is rightly called upon - history, customs, meanings and dictionaries, codes and techniques, conventions. Correspondence, I would say under the influence of Walter Benjamin, creates a monad. It is a space where two different times communicate. You and I are not from the same time. You are like a distant star that may already be dead when I speak to you, or even when you “speak” to me. It’s the same on my side, and heterogeneous times are never unified, they correspond in a flash, and sometimes the half-charred traces of their meeting remain on the ground, those sleepy archives I mentioned earlier. Now, you know that by communicating we mean exactly the opposite of that; we assume two disjointed spaces, and a simultaneity that links them to each other, through contact, contagion, transmission of signals, etc. At this point, it seems to me that contagion, viral transmission, whether we think of it literally or metaphorically, whether we’re talking about a virus or information, is a failure of communication, not its success. I mean: its concealment. […] Fréderic Neyrat, Letter on communicationWe’ve known that “Eros is sick” ever since the films of Michelangelo Antonioni and the writings of philosopher Gilles Deleuze. Not only has Eros not recovered since the 1960s, &nbsp;but worse still, Eros now shares his misfortune with Hermes, the god of exchange and communication. A sick Hermes: it seems to me that this is what Salomé Lamas' fascinating film Gold and Ashes is all about . [...] So, let’s imagine, what if the meta-physical dimension of philosophical-poetic formulas came to meet (again) the physical one, where Carmo and Irma suffer from not getting along? Would they be able to find each other again? After all, the film begins with a question against a white background, the whiteness of the original trauma that keeps dissolving the mother-daughter relationship from within: “Where am I?”, followed by a question addressed to another: “Where were you?” I can imagine this: if the metaphysical dimension were to meet (again, again for the first time) the physical dimension, even for a moment, in a flash, the mother would lose her coldness and the daughter her illusion about her mother. A kind of dazzling psychoanalysis would deliver Hermes, bringing him out of his apathy, giving him back a taste for laughter, for words that leave room for the other, underpinning the community of beings who lose themselves together. Gold would glisten in the ashes. Frédéric Neyrat, No longer finding each other: Salomé Lamas' Gold and Ashes The real (…) is the impasse of every representation, its impossibility, the infinity of what remains surrounding, what cannot be captured in it. The archives that define the boundaries of our history collect only what is important to the archive itself, that is, what somehow anchors the fluctuating possibilities in the present and organizes the experience of time. The real has an alienating effect because it is paradoxically perceived as all that is not collected in the archive, as its unarchivable outside. […] In recent years, there has been a growing sense that the ground on which Western reason had established its dominion is crumbling beneath our feet, and that every system of orientation that has hitherto governed our actions is breaking down. In fact, it is precisely what “we” are that seems to be collapsing. Precisely this panic, which according to Latour gnaws at everyone equally, «at the former colonizers as well as at the formerly colonized» , would then be the new condition of our time: the new universality would consist in the common feeling that our ground «is in the process of giving way».&nbsp; The collapse of this unique ground should therefore reveal that far from being unitary and global, today’s world is instead a plurihistorical and multidifferentiated series of processes cascading across multidirectional waves of colonial, genocidal, and extractive modernities. […] A necessary form of realism today requires a new sense of presence that precedes any representation, and at the same time the ability to perceive a world «peopled not with things but with forces, not with subjects but with powers, not with bodies but with bonds» . A context surrounds and embraces, yet remains imperceptible. The environment is thus an uninterrupted presence, it’s never in front of us but it is always all around. It coexists with the actual present, is here now, but in the mode of inactuality. Therefore, a georealistic materialism cannot be a realized, complete thought. Giovanbattista Tusa, Terrafictions: Notes on georealism <img width="2902" height="2692" width_o="2902" height_o="2692" data-src="https://freight.cargo.site/t/original/i/caddd9261cd9064616d11d31bdcc1a125e1be9ce9e8a03a391f9b0ac6057af1f/Vinil_Mockups.png" data-mid="224251672" border="0" src="https://freight.cargo.site/w/1000/i/caddd9261cd9064616d11d31bdcc1a125e1be9ce9e8a03a391f9b0ac6057af1f/Vinil_Mockups.png" /> <img width="1500" height="1503" width_o="1500" height_o="1503" data-src="https://freight.cargo.site/t/original/i/87ca092ebf0de29ef889189ed4a98a8124ad736e2e8bcf136cc1ad1060a4bbee/Screenshot-2023-01-16-at-00.05.png" data-mid="212721833" border="0" src="https://freight.cargo.site/w/1000/i/87ca092ebf0de29ef889189ed4a98a8124ad736e2e8bcf136cc1ad1060a4bbee/Screenshot-2023-01-16-at-00.05.png" /> <img width="2872" height="2999" width_o="2872" height_o="2999" data-src="https://freight.cargo.site/t/original/i/5df4e5ccde2376dd518efbe619c1dab1cbd7cbb6b641943bee951e44bfd35855/grafico3_semitalico_simples_negativo.png" data-mid="212721832" border="0" src="https://freight.cargo.site/w/1000/i/5df4e5ccde2376dd518efbe619c1dab1cbd7cbb6b641943bee951e44bfd35855/grafico3_semitalico_simples_negativo.png" /> <img width="3000" height="2261" width_o="3000" height_o="2261" data-src="https://freight.cargo.site/t/original/i/29f5d98bf25c114c782a92e534b17c19490ee7cf3a840ff1fb87cd8791a211b6/F-grafico1_negativo.png" data-mid="212721825" border="0" src="https://freight.cargo.site/w/1000/i/29f5d98bf25c114c782a92e534b17c19490ee7cf3a840ff1fb87cd8791a211b6/F-grafico1_negativo.png" /> <img width="1835" height="3000" width_o="1835" height_o="3000" data-src="https://freight.cargo.site/t/original/i/4c07e85021d55fc484db03c3440d040230a6eeb4795f991ec8d62b963577ccd2/grafico2_negativo.png" data-mid="212721728" border="0" src="https://freight.cargo.site/w/1000/i/4c07e85021d55fc484db03c3440d040230a6eeb4795f991ec8d62b963577ccd2/grafico2_negativo.png" /> https://salomelamas.info/PARAFICTION-II Wed, 16 Aug 2023 22:13:40 +0000 salomelamas https://salomelamas.info/PARAFICTION-II ︎ PARAFICTION II (SELECTED WORKS) (in production) Publication, offset printing, format 13 x 21 cm, 350pp., Portugal / Italy Language: English Text: Miguel Amado, Lukas Brasiskis, Pascal Cassagnou, Matthew Chan, Penelope Curtis, Yaron Dahan, Pedro Faro, Lucas Ferraço Nassif, Adelina von Fürstenberg, Lars Henrik Gass, Alba Giménez, Eric Hynes, João Laia, Sara Magno, Nico Marzano, Maria Filomena Molder, Maria Moseng, Frédéric Neyrat, Luís Miguel Oliveira, María Palacios Cruz, Andreea Patru, David Perrin, Michael Sicinski, Giovanbattista Tusa. Design: Luís Lopes, Marcia Novais, Contraestudio Production: Lamaland Printing: Gráfica Maiadouro Development support: FLAD – Fundação Luso-Americana para o Desenvolvimento, Film Study Center – Harvard University, Bogliasco Foundation, MacDowell, Civitella Ranieri, Yadoo Support: DGartes – Direção-Geral das Artes, Batalha Centro de Cinema Publishing, distribution: Mousse Publishing In 2025, Salomé Lamas: Parafiction II (selected works) explores the singularity of Lamas' work that lies in the dialogue of different modes of signification (writing, cinema, video, installation, theatre, performance). The originality of this work, which she has dubbed parafiction, presents a polygraphed nature that ends up providing a large-scale mapping of the contemporary artistic creation understood in its transdisciplinary dimensions, evidence of a research embedded in the present time, but which also frames production processes. The book covers Lamas’ selected works from 2017 to 2025. It includes project notes and production memoirs, contributions by Miguel Amado, Lukas Brasiskis, Pascal Cassagnou, Matthew Chan, Penelope Curtis, Yaron Dahan, Pedro Faro, Lucas Ferraço Nassif, Adelina von Fürstenberg, Lars Henrik Gass, Alba Giménez, Eric Hynes, João Laia, Sara Magno, Nico Marzano, Maria Filomena Molder, Maria Moseng, Frédéric Neyrat, Luís Miguel Oliveira, María Palacios Cruz, Andreea Patru, David Perrin, Michael Sicinski, Giovanbattista Tusa. Contents 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 2012 (short exp), GAIA 2022 (record-cum-publication) 2020/21 – HOTEL ROYAL, PROJECT: HOTEL ROYAL 2021 (short fic), HR 2020/22 (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 codirected 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) *Published in Parafiction I: A TORRE / THE TOWER 2015 (short doc, exp), HORIZON NOZIROH 2017 (video installation in collaboration with Gregorio Graziosi)DGArtes – Direção-Geral das Artes Mousse publishing Batalha Centro de Cinema Lamaland VIMEO