In the first archaeological expedition/excursion to the Serra do Pilar Observatory, a series of objects and situations of interest are identified, including graphic materials. Postcards placed on a shelf, maps, images generated by a seismograph on paper in a staging of use or archived by microfilm in period correspondence envelopes, chronological books with notes on seismic and climatic events, measurements and instructions, reports in the form of tables printed in typography place with handwritten notes and photographs or engravings in frames. It is also essential to state the relationship observed with some equipment and its spaces. In advance, it is sending a topographic plan.
The work proposal in a scientific establishment - an observatory - is compromised by identifying its function. What happens there survived or remained unchanged, on the bank of a water cave, in reserve. The conscientious return to various locations, from scientific establishments to observation and mining sites identified in the SHS project, becomes suitable for an artistic practice committed to technological systems and work methods. Relocating the SHS residence to a proximity space on the other bank of the river - allows consolidating relationships with specimen collections and archives and their containers that provide a more transparent relationship with the critical observation of research processes in a rereading of the language and methods of recognition and interpretation used between art and science, now translated into publication. Maintain incursion/exploration practices understood as archaeological, geological, graphic, topographical, and geodesic excursions to search for things for prospecting actions and treatment and production of an idea about the world without certainties. To methodically dislodge small fractions of the land under plowing. To prevent structures from becoming a monument to how things were done at other times.
The Portuguese Center of Photography has several collections at its disposal with photomechanical photographies.
The collections of postcards and albums, from several authors like José Augusto Cunha Moraes, Carlos Relvas, Emílio Biel & Cª, Domingos Alvão, Marques Abreu & Cª are some examples of the use and exploration of this technique.
Other international authors, like Doris Ulmann or Paul Jeuffrain, are represented in collections such as the Coleção Nacional de Fotografia (International Photography Collection. The procedure of an image consisting of ink, deposited by a printing matrix made it possible to make a limited number of copies and was one the most common means system used in printing postcards between 1868 and the middle of the 20th century.
My presentation will focus on some technical processes in use during the 19th century by the Photographic and Artistic Section of Lisbon, under the supervision of Portuguese chemist José Júlio de Bettencourt Rodrigues (1843-1923). Processes, such as Photoetching, Photolithography, and the use of metal sheets (tin foil) for photolithography transfer, were developed and technically mastered primarily to print maps and cartography.
This technical and functional context will be discussed under Didi-Huberman’s notion of historical anachronism, to present a methodological tool for research and art practice in contemporary art.
My presentation will focus on the technological trajectory of my Ph.D. program. The reconstruction of 19th-century handmade semi-industrial methods and materials started from prepared surface papers and their ability to combine techniques. Through gillotage and the necessary reproduction of inks, by the invention of photo-enamel, to the combination of relief etched plates with slip-cast porcelain – lithophane – proved to have valid experimental potential within a contemporary printmaking practice.
A hands-on learning experience based on open access to digital libraries and archives makes it possible to re-evaluate and adapt 19th century technologies to the needs of contemporary art, demonstrating aesthetic and ideological viability.
My presentation will focus on the technological processes that were found in the archives of Fundação Marques da Silva, identified during the analysis of documents and objects present there, mainly diazotype and zincography. From the zincographies found there a link was then made with Marques Abreu (1896 - 1935), one of the most important engravers of his time in Portugal, whose personal notes, found in the archives of Centro Português de Fotografia, allowed the historical reconstruction of the techniques based on what was being done in the local and regional scale. This allows not only to safeguard this fading technological heritage, but also to produce new practical knowledge, opening a new old path to contemporary printmaking.
This research is discussed based on the idea of printmaking as a translation tool, looking at the reconstruction of these techniques as a way to find new images and visualities, able to reintegrate themselves in contemporary artistic pratice.
