Photo by Carlos Moreira in Guarujá, 1981

A Retrospective Carlos Moreira – Wrong So Well occupies three floors in the Espaço Cultural Porto Seguro, in a mighty collection of the work of the artist who was also a professor of photography. As such he attended the School of Communication and Arts at the University of São Paulo (ECA/USP) from 1971 to 1974 and again from 1979 to 1990.

Still in 1990, he created the M2 Studio Photography School, together with Regina Martins, who today is part of the exhibition's team of curators.

The title, Wrong so Well, comes from a note made by the artist among his digital photos: “I like when you do it right. But I like much more when you do it wrong so well”.

Moreira is dedicated to authorial photography, street photography and travel photography. Her photos are recorded with great care, sensitivity and pleasure.

The Porto Seguro building in the Campos Eliseos neighborhood, which houses the work, has already become one of the important centers of art in São Paulo and Carlos Moreira's show is the most recent of the 16 exhibitions presented there, a series that began with great masters Leonardo, Michelangelo and Raphael, which opened the space in early 2016.

In this retrospective there are about 400 photos, chosen by the curators Fábio Furtado, Regina Martins and Rodrigo Villela — who is the executive and artistic director of Espaço Cultural — in a curatorial work that began in January and delved into the archives of more than 50 years of photographer's work.

For the curators, the “exhibition was born in the face of some considerable yet wonderful challenges… More than 150 color frames were inventoried – never-before-seen images that can now be seen by the public for the first time. The black and white part, although previously cataloged and organized, represents another 80 thousand frames, approximately. If we add to that its digital production, from the early 2000s until now, the volume at least doubles. Not to mention the delicious risk of having a new and extraordinary sequence of images taken by Carlos every day, throughout the process”.

Born in São Paulo in 1936, Carlos Moreira began to photograph in the early 60s, when he fell in love with Cartier-Bresson, from whom his influence later moved away. Currently, the photographer recognizes “a certain 'hardness' in Cartier-Bresson” that bothers him today, “but it was important in my training”.

Moreira graduated from Universidade Mackenzie, in Economics, and opted for photography in 1964, abandoning the barely started economy.

Known for his black and white analog photos, produced in cities where he passed, 250 unpublished photos of his color and digital phases are also exposed on the walls of the Porto Seguro Cultural Space. Divided into sections, the exhibition gathers from early career photos to recent digital images. Carlos Moreira has already exhibited in Paris (1983), Washington (1986) and New York (1988). His photos are in important collections, such as the one at Pompidou.

His technical choices are also interesting at this moment in which the vertiginous technological transition that has been plaguing us for decades, in addition to the aforementioned progress, also provokes discussions where not even icons are spared. Recently, Sebastião Salgado caused a stir on social media by saying that, for him, “cell phone images are not photography”.

Carlos Moreira's work comes to light through cameras and techniques chosen in a healthy eclectic way.

He shoots with Leicas, analogue and digital, with the practical Canon Powershot and also with the even less complex cellular devices. Photos of him are printed in black and white, in color and on various media that even include notebooks, Cicero and Moleskine type.

And in this regard, the phrase included in the exhibition's expography is important: “… it is clear that for him the core of photography is not in the device itself, but in what it provides to the artist in his relationship with the world”.

Carlos Moreira – Wrong So Well
Porto Seguro Cultural Space
Until October 27st
Free admission

 

 

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