A última foto [the last photo], Rosângela Rennó’s first individual exhibition at Galeria Vermelho, examines the disappearance of the analog photograph and its substitution by the digital image, an important change in the photographic creation process. Digital technology has undermined the supposed credibility of the photographic image while generating a host of new solutions, as well as problems, such as the transmission and storage of images.
To deal with this subject, Rennó invited 42 photographers (see below) to participate in the creation of the exhibition. Each photographer chose a camera from the artist’s personal collection, of varied formats and brands, acquired in flea markets or given by friends. With the camera in hand and a film roll, each photographer produced B&W or color images of the Christ the Redeemer monument on the Corcovado, Rio de Janeiro. After choosing an image from each photographer, Rennó covered the lens with ink. The sealed camera and its “last” image compose the series of 43 diptychs, including one made by Rennó, displayed in A última foto.
The choice of the Christ the Redeemer monument as the object of the photographs arose from a controversy involving copyrights of images of art works located in public or private spaces. The heirs of the sculptor Paul Landowski, the artist who shaped the face and arms of the sculpture, have tried to charge for commercial reproductions of the piece, although these rights belong to the Archdiocese of Rio de Janeiro, the owner of the sculpture. The documentary “Christo Redemptor,” by Bel Noronha, launched in 2005, describes the project, the construction of the monument, and discloses its triple authorship under the direction of Brazilian engineer Heitor da Silva Costa – today practically forgotten -, and will also be shown in A última foto [the last photo].
Guest photographers: Antonio Augusto Fontes, Cláudia Tavares, Cris Bierrenbach, Cristiana Miranda, Caroline Valansi, Dani Soter, Daniel Martins, Deborah Engel, Debora 70, Denise Cathilina, Deise Lane, Ding Musa, Eder Chiodetto, Edouard Fraipont, Eduardo Brandão, Iuri Frigoletto, João Castilho, José Roberto Lobato, Luiz Garrido, Milan, Marcelo Tabach, Matheus Rocha Pitta, Milton Guran, Nino Andrés, Odires Mlászho, Otávio Schipper, Patricia Gouvêa, Paula Trope, Pedro Vasquez, Pedro David, Pedro Motta, Rafael Assef, Rochelle Costi, Ruth Lifschits, Rogério Reis, Thiago Barros, Vicente de Mello, Walter Mesquita, Wilton Montenegro, Ynaiê Dawson, Walter Carvalho and Zeca Linhares.
A última foto [the last photo], Rosângela Rennó’s first individual exhibition at Galeria Vermelho, examines the disappearance of the analog photograph and its substitution by the digital image, an important change in the photographic creation process. Digital technology has undermined the supposed credibility of the photographic image while generating a host of new solutions, as well as problems, such as the transmission and storage of images.
To deal with this subject, Rennó invited 42 photographers (see below) to participate in the creation of the exhibition. Each photographer chose a camera from the artist’s personal collection, of varied formats and brands, acquired in flea markets or given by friends. With the camera in hand and a film roll, each photographer produced B&W or color images of the Christ the Redeemer monument on the Corcovado, Rio de Janeiro. After choosing an image from each photographer, Rennó covered the lens with ink. The sealed camera and its “last” image compose the series of 43 diptychs, including one made by Rennó, displayed in A última foto.
The choice of the Christ the Redeemer monument as the object of the photographs arose from a controversy involving copyrights of images of art works located in public or private spaces. The heirs of the sculptor Paul Landowski, the artist who shaped the face and arms of the sculpture, have tried to charge for commercial reproductions of the piece, although these rights belong to the Archdiocese of Rio de Janeiro, the owner of the sculpture. The documentary “Christo Redemptor,” by Bel Noronha, launched in 2005, describes the project, the construction of the monument, and discloses its triple authorship under the direction of Brazilian engineer Heitor da Silva Costa – today practically forgotten -, and will also be shown in A última foto [the last photo].
Guest photographers: Antonio Augusto Fontes, Cláudia Tavares, Cris Bierrenbach, Cristiana Miranda, Caroline Valansi, Dani Soter, Daniel Martins, Deborah Engel, Debora 70, Denise Cathilina, Deise Lane, Ding Musa, Eder Chiodetto, Edouard Fraipont, Eduardo Brandão, Iuri Frigoletto, João Castilho, José Roberto Lobato, Luiz Garrido, Milan, Marcelo Tabach, Matheus Rocha Pitta, Milton Guran, Nino Andrés, Odires Mlászho, Otávio Schipper, Patricia Gouvêa, Paula Trope, Pedro Vasquez, Pedro David, Pedro Motta, Rafael Assef, Rochelle Costi, Ruth Lifschits, Rogério Reis, Thiago Barros, Vicente de Mello, Walter Mesquita, Wilton Montenegro, Ynaiê Dawson, Walter Carvalho and Zeca Linhares.