Mediating and Materializing / Perceiving and Participating: an exhibition script on Photography and Architecture

189 MEDIATING AND MATERIALIZING / PERCEIVING AND PARTICIPATING The cons uc ion o an exhibi ion sc ip on pho og aphy and a chi ec u e Joana Ma eus & Inês Aze edo Museu Casa da Imagem – Fundação Manuel Leão / Casa da Imagem Museum - Manuel Leão Founda ion, Opo o, Po ugal Abs ac I is up o he Educa ional Se ice (ES) o he Casa da Imagem Museum (MCI) o concei e a inal exhibi ion o he esea ch p ojec Pho og aphy, Mode n A chi ec u e and he "Po o School": In e p e a ions o he Teó ilo Rego A chi e (FAMEP) (Fo og a ia, A qui ec u a Mode na e a «Escola do Po o»: In e p e ações em o no do A qui o Teó ilo Rego (FAMEP)). The elemen s o conside o he c ea ion o his exhibi ion include: Teó ilo Rego’s pho og aphs, he heo e ical p oduc ion de eloped wi hin his p ojec , he public and he MCI’s s uc u al guidelines. Following he MCI’s guidelines, which equi e he cons uc ion o a speci ic ela ionship be ween he public and he image ield – a ela ionship o endez ous, pa icipa ion and app oxima ion –, he ES is esponsible o he c ea ion o an exhibi o y s uc u e ha accomplishes wo unc ions: on one hand, o e lec he scien i ic scope o he p ojec acco ding o he heo e ical in e p e a ions ha ha e been p oduced by i s esea ch eam; and on he o he hand, o media e be ween hose con en s and he isi ing public, h ough exhibi o y objec s ha simul aneously en ail he issue o seeing. Wi h his p esen a ion, he ES aims o e lec on i s ole as a media o , de ining how media ion es ic s he exhibi o y sc ip , how i ma e ializes in o an objec and how i is made a ailable o he public. We hus iden i y as ields o media ion / ma e ializa ion, i s ly, pho og aphs: hei place wi hin he esea ch p ojec and he way in which hey will be e ealed in he exhibi ion. Secondly, he esea che s’ heo e ical p oduc ion: he selec ion o he pho og aphs o be shown and he cons uc ion o he scenog aphic a gumen s ha compose and con ex ualize hose same pho og aphs. These a gumen s seek o unde s and he ela ionships be ween he genesis and he inal pho og aphic p oduc , as well as he place o he pho og aphe wi hin he His o y o Pho og aphy in Po ugal. Finally, he public: pe cep ion – he isualiza ion o a se o pho og aphs and isual essays, he p esence o he body wi hin a scenog aphic ep esen a ion – and he pa icipa ion – cons uc ing new images and con en s. Keywo ds: Media ion, a chi ec u e pho og aphy, esea ch, exhibi ion, educa ional se ice. The MCI Educa ional Se ice The Educa ional Se ice (ES) is he cen e om which he ac ions and co pus Joana Ma eus & Inês Aze edo, Media ing and Ma e ializing / Pe cei ing and Pa icipa ing. The cons uc ion o an exhibi ion sc ip on pho og aphy and a chi ec u e 190 o he Casa da Imagem Museum (MCI) come om. Based on an a chi e made by a pho og aphic ond, his Museum guides he s uc u e o i s exposi o y co pus om he possible signi ican expe iences and he mul iple lea nings ha come om he passage o i s isi o s. The ac i i ies o he educa ional se ice ha e been c ea ed as he esul o he s udies and expe imen a ion o he Museum's eam, i s collabo a o s, he a is s ha ha e p esen ed and c ea ed de ices ha belong o he uni e se o a chi e e e ences o he Museum, and he p oposi ions made by i s isi o s. The MCI, h ough he Educa ional Se ice, concei es and a icula es i s exposi o y p oposals in o de o allow o he se ing o c i ical ques ions on he issue o seeing unde s ood by Jona han C a y (1992: 3) as being mos ly ques ions on he body and he ope a ion o social powe : i p omo es he conside a ion o he obse e as he esul o a discu si e, social, echnological and ins i u ional sys em (1992: 6), in eg a ing op ical de ices ha keep co esponding o he ans o ma ion o he s a us o he obse e since he XVII cen u y up o oday. Toge he wi h hese ques ions, i p omo es an app oach in eg a ed wi h he a ious collec ions ha cons i u e he a chi e and he unde s anding o he same as an hype - ex ual ield o wo k, ha is, dis ibu ed and c ossed: concei ing he in eg a ion o se e al lines o ac ion, p o oking swi ching be ween he objec o e e ence and s udy in a c issc ossing o pe spec i es and in e p e a i e p oposals om he a chi e and ha , simul aneously, cons i u e i . I is up o he Educa ional Se ice o he MCI o c ea e, in s ic a icula ion wi h he p ojec esea che s o he FAMEP,– P ojec o Fo og a ia, A qui ec u a Mode na e a 'Escola do Po o': in e p e ações em o no do A qui o Teó ilo Rego", he inal exhibi ha p esen s he esul s o he esea ch. Howe e , he guiding lines ha se e he objec i es o he Museum, gi e he Educa ional Se ice ano he pa beyond ha o a me e exposi o o he con en s wi hin he p ojec : hey imply he cons uc ion o a speci ic ela ionship wi h he public – a ela ionship o mee ing, pa icipa ion and app oxima ion. The i s pu pose o he Educa ional Se ice in he p ojec has Pho og aphy & Mode n A chi ec u e Con e ence P oceedings. Po o, Ap il 22-24, 2015 191 been, hus, ha o c ea ing media ion p oposal be ween he esea ch and he public. The ES’s unde s anding o he concep o media ion in he exhibi ion design The wo d media ion means a ela ionship ha is es ablished be ween wo pa ies and ha , om he ou se , does no equi e a hi d pa y o make i happen: i s ands o he will o do some hing oge he , o c ea e alue and o pe o m a wo k o disco e y o each subjec ’s possibili ies and o asse ing he o he , o go en, excluded (Six, 2002, p. 8). The Educa ional Se ice o he Casa da Imagem is guided by his will: h ough he emancipa ion o he spec a o by an ac ion ha Ranciè e cha ac e izes as poli ical, since i wan s o econ igu e, wi hin he museum's li ing space, " he sensi i e amewo ks wi hin which common objec s a e de ined"(Ranciè e, 2010, p. 90). I is, he e o e, a wo k on he a ea o communica ion, ela ionship and expe ience o he exhibi ion, a wo k ha we call media ion. Acco ding o Jean-F ançois Six (2002: 21), he e a e wo media ion ca ego ies and hei s uc u es a e adically di e en om each o he : one designa es "media ion-house", and he o he "media ion-ga den". The o me is ound wi hin he ins i u ions ha conside hei oca ion o make places o media ion a ailable o hei membe s o a cause. The la e is independen om any ins i u ion and is conce ned wi h he esponsibili y o each pe son wi h ega d o all o he o he s, and is ela ed o empa hy and equali y. Fo he au ho (Six, 2002, p. 115), he media ion-ga den is in e nal, uly ans o ma i e and can be he ue inno a ion in social ela ions. Wi hin his media ion, e e yone is a he same le el, quali a i ely, on equal e ms; no one holds he esul o he si ua ion, no he powe o ob ain a ce ain esul om he o he . Howe e , media ion is usually seen as a wo k ha seeks o se le con lic s, Joana Ma eus & Inês Aze edo, Media ing and Ma e ializing / Pe cei ing and Pa icipa ing. The cons uc ion o an exhibi ion sc ip on pho og aphy and a chi ec u e 192 in ol ing he in e en ion o a media o ha wo ks on behal o an ins i u ion. The media o s a e seen as hose who help and acili a e comp ehension be ween wo opposi es. Thei unc ion is o allow he o he s o see, explain and conclude, wo king owa ds ag eemen , bu no aking any decision. They make an e o o c ea e a cohe en , consensual and appeasing image. This unde s anding o bo h media ion and media o s is ele an and una oidable o he Educa ional Se ice o he MCI’s c ea ion o an exhibi ion wi hin he FAMEP esea ch p ojec . A he beginning o he esea ch, he need o manage, concilia e and a icula e he expec a ions o he cul u al p omo ion o he objec o he esea ch wi h he aims o he educa ional se ice o he museum o he Casa da Imagem, due o he ex eme a ia ion in he ype o obse e s ha make up he public o he pho og aphic a chi e. (Aze edo, Ma eus, Pes ana, 2013, p. 29) Thus, he ES places i sel , on one hand, as a media o o he ype o media ion-house s uc u e, ope a ing he ansla ion o esea ch knowledge in an exposi o y image which is comp ehensible o he public o he exhibi ion – he p ojec has an in e es in he heo e ical con en s c ea ed by i s esea che s being communica ed o he public h ough a consonan isual cons uc ion. On he o he hand, he ES conside s he pho og aphic image o be, by i sel , media ion: an open e i o y o be explo ed, in i s con ou s and con as s; a mee ing poin o he subjec wi h he ep esen a ion space and wi h himsel as a pa icipa ing obse e – ecognizing a o ce o up u e in pho og aphy, caused by a ma ginal, unexpec ed and acu e elemen , Ba hes’s punc um. Th ough his empo al and symp oma ic image, he ES aims o make a ailable he space in which each isi o may ind himsel in his con lic s and in his in ima e dialogues wi h he image. The exhibi ion p omo es he public's aes he ic hough on he image, h ough a chi ec u al pho og aphy, exhibi ed in i s ambi alence and complexi y. Pho og aphy & Mode n A chi ec u e Con e ence P oceedings. Po o, Ap il 22-24, 2015 193 A chi ec u al pho og aphy as an objec o media ion The ES o he MCI pu s i sel , he e o e, be o e wo di e en ways o o ganizing he a chi ec u al pho og aphy exhibi ion ha is conside ed wi hin he FAMEP p ojec . I dedica es i sel o he cons uc ion o he exposi o y sc ip and aims o a icula e wo o ms o media ion, one which is ins i u ional and esponds o he ma e s aised by he issue o he his o y o a chi ec u al pho og aphy, and ano he ha , wi hin i , cons uc s a ga den o a mee ing wi h he image, in which he image is o e ed o con ac and dialogue, in many o i s aspec s and aces. In he c ea ion o he exhibi ion, he image is conside ed as he media o 's p i ileged objec o media ion in ela ion o he wo agen s – he FAMEP p ojec 's esea che s and he public o he exhibi ion - o o he wo poles o a con lic si ua ion whe e he imbalance is e iden ; i.e., because he e is a adical disc epancy be ween he knowledge held by he esea che s on he objec s and con en s ha hey add ess and he lack knowledge on hose same objec s by he public, an une enness ha mus be mi iga ed, when conside ing he p ojec 's objec i es. Wi hin he FAMEP p ojec , he a chi ec u al pho og aphy exhibi ion se es he communica ion o a consensual, bu also c i ical, image on he speech ha he wo k's clien , he a chi ec and he pho og aphe ha e ag eed o c ea e h ough he image. The cons uc ion o his image wi hin he exhibi ion will be he esul o a wo k based on he esea che s’ heo e ical p oduc ion, wi h he pu pose o selec ing he pho og aphs o be p esen ed and o cons uc he scenog aphy sc ip s which in eg a e and con ex ualize hose pho og aphs. These sc ip s y o unde s and he ela ions be ween he genesis and he inal pho og aphic p oduc , as well as he place o he pho og aphe wi hin he His o y o Pho og aphy in Po ugal. Joana Ma eus & Inês Aze edo, Media ing and Ma e ializing / Pe cei ing and Pa icipa ing. The cons uc ion o an exhibi ion sc ip on pho og aphy and a chi ec u e 194 The a chi ec u al pho og aphy in Teó ilo Rego's Pho og aphic Fond Pho og aphs we e ecognized and iden i ied o he c ea ion o he esea ch p ojec , whose ep esen ed wo ks belonged o some o he a chi ec s o he so called "Po o School" 1 . S ill in hei o iginal packaging (boxes, en elopes o packages), unde a nega i e suppo in ilm o glass, he i s a chi ec o e oke he in e es o his p ojec ’s esea che s was he A chi ec Ma ques da Sil a. Du ing he ea ly s ages o he esea ch, i was unde s ood ha Teó ilo Rego had pho og aphed and p in ed he comple e wo k o Ma ques da Sil a 2 , which can be e isi ed in he exhibi ion o ganized as a ibu e o him in 1953. As soon as he esponsibili y a ibu ed o his pho og aphe in he beginning o his ca ee as a comme cial pho og aphe 3 was iden i ied and unde s ood, o he possible a chi ec s we e looked o ha , like Ma ques da Sil a, could ha e had hei wo ks egis e ed by Teó ilo Rego. The lis was ex ensi e, composed by abou o y a chi ec s, among which a e João And esen, Januá io Godinho, Rogé io de Aze edo, he ARS collec i e, José Ca los Lou ei o, among o he s. The indexing o he Teó ilo Rego Pho og aphic Fond led o he adjus men o he expec a ions c ea ed a ound his ond, ini ially cons uc ed based on he wo ks o Ma ques da Sil a, João And esen and he HICA, pho og aphed by Teó ilo Rego, o wha g adually came o be known. In he cou se o he p ojec i was ound ha he name ou side he o iginal packaging boxes, packed by Teó ilo Rego, no always co esponded o wha was ound wi hin hem. An example o his is he box o he A chi ec Ma ques da Sil a, which was ound o con ain wo ks o his son in law Mo ei a da Sil a, pho og aphs o 1 We ollow he de e mina ion o he e m “School o Po o” as de e mined by Ma ia Helena Maia, Alexand a T e isan, Miguel Mo ei a Pin o (2014) “He e i should be cla i ied ha , in wha conce ns o his ex , we conside he School o Opo o in he sense ha i was se by Oc a io Lixa Filguei as (1986), ie, he School o Ca los Ramos.” 2 A he exhibi ion ibu e o Ma ques da Sil a, held in 1953, Teó ilo Rego was esponsable o he pho og aphical p esen a ion o he a chi ec ’s whole wo k. 3 Teó ilo Rego (1914/1993) was a Po uguese pho og aphe . Al hough he bo ned in B azil, he li ed in Po o since en yea s old. Wi h he age o ele an s a s o wok a he Ma ques de Ab eu Wo kshop and la e goes o Li o Maia as pho oli hog aphy’s pho og aphe . In 1947 he s a ed his own pho og aphic house: “Fo o-come cial Teó ilo Rego”. Pho og aphy & Mode n A chi ec u e Con e ence P oceedings. Po o, Ap il 22-24, 2015 195 he in e io o a house, ombs one images, among o he objec s and con ex s. On he o he hand, he egula i y wi h which he a chi ec s’ wo ks we e pho og aphed a ied widely. A i s , he isible wo k ela ionship ha was ound in he boxes o João And esen was aken as an example, bu mos o he a chi ec s did no p esen such quan i y o quali y. As a consequence o hese dispa i ies in he pho og aphic eco ds ound inside he boxes iden i ied wi h he a chi ec s’ names, bo h in he o iginal indexes and in he olume o wo k associa ed o each a chi ec , all he boxes, en elopes and packages (wi h he excep ion o he boxes o po ai pho og aphs, accoun ing o abou 1/3 o he ond) ended up being isi ed by he p ojec 's esea che s. Thus, he boxes o cons uc ion companies, ci y halls, companies whose buildings we e designed by he a chi ec s, as well as he boxes whe e Teó ilo Rego used o s o e he pho og aphs ha he ook ou side o his "Fo o- Come cial Teó ilo Rego" company, became he objec o sc u iny o e he cou se o he esea ch. I was, wi hin his con ex , ha he Magna Exhibi ions became a esea ch heme o his p ojec , opening i o he Escola Supe io de Belas A es (Opo o Fine A s School), he place o he "Po o School". The a chi ec -pho og aphe ela ionship The ela ionship be ween a chi ec and pho og aphe is a ield o esea ch o he FAMEP p ojec , which has pho og aphs and some w i en no es as exis ing elemen s o be analysed, up o he s a ing da e o his p ojec , in a pho og aphic a chi e packaged and indexed by he pho og aphe himsel , as well as he biog aphical and au ho ial knowledge on he a o emen ioned pho og aphe and a chi ec . Acco ding o he e lec ion by esea che Miguel Pin o in he con e ence "The shadow o he A chi ec " 4 , he wo k o João And esen appea s, up un il now, 4 Con e ence “A somb a do A qui ec o, da colabo ação en e João And esen e Teó ilo Rego” Joana Ma eus & Inês Aze edo, Media ing and Ma e ializing / Pe cei ing and Pa icipa ing. The cons uc ion o an exhibi ion sc ip on pho og aphy and a chi ec u e 196 as being he mos egis e ed, s anding ou om he wo ks o o he a chi ec s, bo h by he quan i y and di e si y o he pho og aphic ma e ial, and by he quan i y and di e si y o p ojec s. The e a e se e al wo ks 5 by his a chi ec in he pho og aphic ond, c ea ed be ween he 50s and 60s o he 20 h cen u y, se e al maps, g aphics, igu es o pho og aphs aken om books (pe haps in he con ex o he p epa a ion o eaching in he discipline o U banism, in he ESBAP) and amily pho og aphs. The close ela ionship be ween Teó ilo Rego and João Ande son appea s o be excep ional and migh no ha e been eplica ed by he pho og aphe wi h he o he a chi ec s wi h whom he wo ked. In ac , he esea che Jo ge Cunha Pimen el, in he con e ence "The p esence o he wo k o Rogé io de Aze edo in Teo ilo Rego's pho og aphy", conside s ha , om he examples wi hin he pho og aphic ond, as well as wha is known ou side o his ond, he ela ionship be ween a chi ec and pho og aphe is non-exis en . Also om he in e iew wi h he A chi ec José Ca los Lou ei o 6 , one o he a chi ec s wi h pho og aphs aken by Teó ilo Rego, i was possible o unde s and ha his ela ionship wi h Teó ilo Rego was b ie and me ely p o essional; Teó ilo Rego pho og aphed some o his wo ks and p ojec s, as is he case o he Pa ilhão Rosa Mo a ( he e a e eco ds o he wo k in a scale model, in he p ocess o cons uc ion and upon comple ion); howe e , a g ea numbe o he wo ks by his a chi ec we e pho og aphed by ano he pho og aphe o by himsel 7 . Since many o he a chi ec s whose wo k was pho og aphed ha e al eady p esen ed a FAMEP ⎪II Jo nadas “O Fo óg a o & os A qui ec os”, 5 de Dezemb o, 2014. CEAA, ESAP, Po o. 5 Some o he wo ks a e: Palácio da Jus iça de Lisboa, 1960; o Edi ício do BES em S. João da Madei a 1959/62; os no os Paços do Concelho e Viana do Cas elo; as p opos as pa a Anco agem No e da Pon e sob e o Tejo, 1962; o Plano Tu ís ico da Ma inha – Sec o da Guia, Cascais, 1961; o An eplano de U banização do Cen o de Tu ismo Reis Magos, na Madei a, 1964; among o he s. 6 The in e ew happened a he José Ca los Lou ei o A elie , 26 h Feb ua y, 2015, 10 am. 7 The A chi ec José Ca los Lou ei o is hough o ha e said ha buying a p i a e pho og aphic came a, in his case and ha o his con empo a ies, migh ha e been one o he easons why he did no use he se ices o a p o essional pho og aphe as o en. The p ice o ha se ice was oo high and only when a speci ic image was necessa y would he equi e such se ices. Pho og aphy & Mode n A chi ec u e Con e ence P oceedings. Po o, Ap il 22-24, 2015 197 passed away, i was no always possible o know o ind, un il now, w i en eco ds allowing o clea ly de ine a empo al o de o a amewo k ha con ex ualizes he pho og aphs beyond wha is isible in hem, so i is assumed ha , despi e he gene al ecogni ion o his p o essional quali ies, he choice o Teó ilo Rego may ha e been, a imes, ci cums an ial. Seeing he pho og aphs and knowing he a chi ec 's wo k is no enough o c ea e a na a i e ha ollows a clea and consequen ial guiding h ead, allowing o an enligh ening unde s anding o he ela ionship be ween pho og aphe and a chi ec s, since i s na u e is incons an : no all a chi ec s keep a simila ela ionship wi h he pho og aphe which, in some cases, is ex ended in ime and, in o he s, is lee ing. The exposi o y sc ip To o ganize he Final Exhibi ion o he FAMEP p ojec , he MCI Educa ional Se ice is w i ing an exposi o y sc ip ha is o med based on he e lec ions on he pho og aphs o he pho og aphic ond and he ew w i en egis e s o Teó ilo Rego. The esea che s, wi hin he p ojec 's selec ed wo king objec s, analyse and hink abou he possible app oxima ions o he pho og aphic ond and he ela ionship ha he pho og aphs wi hin i may es ablish wi h he pho og aphy o mode n a chi ec u e, acco ding o he esea che s' a ini ies and scien i ic ields. Jae Eme ling s a es, in his ex "The a chi e as a p oduce ", ha an a chi e is an o ganized eposi o y o documen s and eco ds c ea ed by an ins i u ion, subs an ia ing he w i ing o his o y. Howe e , he au ho concludes ha , while closely wo king in he a chi e, i becomes clea ha his is no he passi e and s a ic suppo om which a consensual and linea s o y may be old: “i is mo e like a h eshold whe ein said and unsaid in e pene a e, whe ein hey a e con ingen upon one o he . (…) many con empo a y pho og aphic p ojec s s ems om a sense o diso de ing he Joana Ma eus & Inês Aze edo, Media ing and Ma e ializing / Pe cei ing and Pa icipa ing. The cons uc ion o an exhibi ion sc ip on pho og aphy and a chi ec u e 204 owa ds he ela ionship o he public's gaze. This side ha is in insic o any p ecise image, howe e , h ough he disciplina y amewo k and he esea ch con ex implied in he exhibi ion, o a s a egy o a i ma ion. Consequen ly, he ES has conside ed undamen al, since he beginning o he esea ch p ojec , o wo k o he ways o he image o make i sel a ailable o he public, which may emphasize he sensi i e side o a physical hing, plas ic ma e ial, subjec o ime and deg ada ion. (Aze edo, Ma eus, Pes ana: 2013). Figu e3. Hyd oelec ic Ca ado - HICA. Pho og aph o Teó ilo Rego (Teó ilo Rego’s Fond, Museu Casa da Imagem, Fundação Manuel Leão) A esea ch was done on he his o y o he image isualiza ion de ices and hei cha ac e is ics, i s echnology and he speci ic way in which hey c ea e an obse e , in e e e wi h he cons uc ion o he pho og aphic image i sel . The wo kshop “Dio ama on A chi ec u e Pho og aphy: Finding Punc umland”, p esen ed a he Fi h In e na ional Con e ence on he Image, 2014, has hus es ablished i sel as a esea ch and wo k expe ience. The pu pose o he wo kshop was o p oduce p ac ices accompanying he heo e ical ma e ial p oduced by he A chi ec u e pho og aphic in e p e a ions and, simul aneously, o ques ion he way i p esen s i sel o he public. I came Pho og aphy & Mode n A chi ec u e Con e ence P oceedings. Po o, Ap il 22-24, 2015 205 down o se ing an a chi ec u al pho og aph in ca dboa d su aces wi h he ans o ma ion o wo-dimensional elemen s o he pho og aph – he igu a i e elemen s and o he elemen s, such as he channels esul ing om he de e io a ion o he ilm nega i e and lacunas – in a h ee-dimensional image composed by independen sho s, c ea ed an image wi h a plas ic na u e o ally di e en om he o iginal image. This p oposal has been e o mula ed in o an exposi o y objec o he exhibi ion and is an example o he double app oach o a chi ec u al image p oposed by he ES. On one hand, as e e ed by Campany (2014: 28), he pho og aphy medium uniquely se s i sel o he possibili y o sel -documen a ion and, on he o he hand, o in e p e eali y. As has been men ioned (Aze edo, Ma eus, Pes ana, 2013, p. 31), om E ans' pho og aph, "pho og aphs dispense wi h ex since hey a e, hemsel es, speech and e idence". On he o he hand, we know ha he image is a s uc u e eminen ly open o complex in e p e a ion ha he "con empo a y obse e , ha pa icipa es in he cons uc ion o he wo k o a , h ough a de ou in he poin o iew and dis o ion (...) is capable o concei e, ela i ely o he con ex o p oduc ion, dis ibu ion and image consump ion”. (2013: 32) Finally, he pho og aphic image, in i s aspec s o deg ada ion signals i s con inui y, "i in ol es he obse e in he game o shapes ha p i ileges he p ocesses and ela ionships wi hin he isual expe ience", in a sensi i e p ocess ha b eaks ee om he ep esen a i e ield o he image, in o de o in oduce wha Didi-Hube man designa es as he "image's wo old egime" (2013:34). In he exhibi ion, he a chi ec u e dio ama will be con ained in a black box, hei o he da k oom and he op ical boxes whe e na a i es a e collec ed and e ealed by he public, h ough he p ojec 's igu es o pho og aphy and a chi ec u e. The dio ama's p oscenium, as well as he mo emen s in placing he igu es on he dio ama, by he pa icipan , is p ojec ed in eal ime, h ough a closed ci cui ideo, in a sc een on he on al wall. A change is in ended in he posi ion o he obse e owa ds he exhibi ion, who, mo e han acing a p esen a ion o objec s, see hemsel es in he co e o an Joana Ma eus & Inês Aze edo, Media ing and Ma e ializing / Pe cei ing and Pa icipa ing. The cons uc ion o an exhibi ion sc ip on pho og aphy and a chi ec u e 206 expe ience o image p oduc ion: I is a ques ion o he body and pe cep ion, o he eye’s ela ionship o ilm e sus he b ain’s. (…) The ilm sc een and he elec onic sc een change and c ea e ou p esence in he wo ld and ou ep esen a ion o i , in he same way ha pho og aphy changed ou p esence in he p eceding cen u y. (…) he co po al expe ience as being absolu ely cen al o hese wo ks: o mo e a ound he wo k, o be in he da kened oom, and o see he “o he side” o he wo k. (Wik, 2004, p. 148) The di e en media ion media Following he esea ch on he his o y o image isualiza ion de ices, he ES has ocused speci ically on he o iginal exhibi ion objec s o ce ain momen s o a chi ec u al pho og aphy ha we e wo ked wi hin he p ojec . Namely, hose suppo s and u ni u e used o sus aining and composing he wo k exhibi ion by he Belas A es s uden s, as in he Magna exhibi ions, some o hem also used in classes and s udio, a he momen o he beginning o he p o essional ela ionship o Teó ilo Rego wi h he a chi ec s: d awing s e che s, sculp u e and pain ing easels, i s me allic s uc u es – used o he placemen o bigge plaques in o de o expose a g ea e quan i y o wo ks – showcases, sculp u es se on ables accompanied by chai s and o he di e se ables. The displays used o s udio wo k a e he ones ha we a e mo e in e es ed in e oking in his esea ch, since hey ake us o a momen o wo k, hough and esea ch. The pho og aphs o he di e en exhibi ions allow us o unde s and ha he displays and he display o he wo ks has been changing. Ano he exposi o y suppo obse ed in many pho og aphs is he panel. I exis s as a e y la ge pla e ha is se on he s e che 's s uc u es, bo h as a e ical pla e wi h wo suppo ing legs, and also hanging om he ceiling. I is used o hanging Pho og aphy & Mode n A chi ec u e Con e ence P oceedings. Po o, Ap il 22-24, 2015 207 p ojec s, pho og aphs and news on he exhibi ion. Figu e4. Magna Exhibi ion. Fine A s School. Pho og aph o Teó ilo Rego (Teó ilo Rego’s Fond, Museu Casa da Imagem, Fundação Manuel Leão) Figu e5. Magna Exhibi ion. Fine A s School. Pho og aph o Teó ilo Rego (Teó ilo Rego’s Fond, Museu Casa da Imagem, Fundação Manuel Leão) The ans e o hese and o he objec s om a wide con ex o esea ch, such as he labo a o y equipmen and he pho og aphe 's s udio, pe o ms Joana Ma eus & Inês Aze edo, Media ing and Ma e ializing / Pe cei ing and Pa icipa ing. The cons uc ion o an exhibi ion sc ip on pho og aphy and a chi ec u e 208 he unc ion o se ing an a i icial na u e, app op ia e o a mee ing wi h image and making i he place pe ES o media ion. Unde s ood as a con empo a y p ojec , he exhibi ion concei ed by he ES seeks o, no only o app oach he images as e idence o he pas wi h a se his o ical and disciplina y amewo k, bu also o allow he a chi e ma e ial – pho og aphic species, exposi o y suppo s, pho og aphic ma e ials and de ices – o be econ igu ed in he p esen ; much like Jae Eme ling (1992:122) s a es, i “means o p esen he coexis ence o he pas in he p esen , ha is, o ocus ou a en ion on i s con inued psychological, poli ical, and sociocul u al a ec s”. P ojec e e als, p esen in he esea ch in a mo e o less di ec way, displays, de ices, appa a us and he nega i es hemsel es, a e shown in hei physical p esence in o de o e-e oke hei use, hei unc ion. Anach onis ic objec s ha impose a enewed ela ionship wi h he body and he eye o he obse e . They compose an app op ia e mee ing space, a space o speech ha c osses e e ences: o he p ojec 's in e nal con ex , o he esea ch p ac ice, o he school, he a is ic p ac ice, he wo k, he museum space ha bo h exhibi ion and a chi e co-inhabi ... o a hyb id space, a win e ga den. Acknowledgmen s This wo k is co-sponso ed by he Founda ion o Science and Technology I.P. (PIDDAC) and by he Eu opean Regional De elopmen Fund – ERDF, h ough COMPETE – Ope a ional P og amme “Fac o s o Compe i i eness” (P og ama Ope acional Fa o es de Compe i i idade – POFC), wi hin he p ojec PTDC/ATP- AQI/4805/2012 ("Fo og a ia, A qui ec u a Mode na e a «Escola do Po o»: In e p e ações em o no do A qui o Teó ilo Rego"). Re e ences Aze edo, I. & Ma eus, J. & Pes ana, A. (2013). “Lacunas and hei in e p e a ions: a con empo a y look a he pho og aphic wo k o Teó ilo Rego” in Con empho o’13 - Con empo a y Pho og aphy Con e ence — Visualisa ion & U ban His o y in Con empo a y Pho og aphy, ed. E e Duyan, Özgü A ak, 28-35. Is anbul: Dakam Publishing. Pho og aphy & Mode n A chi ec u e Con e ence P oceedings. Po o, Ap il 22-24, 2015 209 Camapany, D. (2014). “A chi ec u e as pho og aphy: documen , publici y, commen a y, a ” in Cons uc ing Wo ld — pho og aphy and a chi ec u e in he mode n age. C a y, J. (1992). Techniques o he Obse e . Camb idge/London: MIT P ess. Eme ling, J. (1992). “The a chi e as p oduce ” in Pho og aphy his o y and heo y. New Yo k: Rou ledge. Maia, M. & T e isan, A. & Pin o, M. (2014). On mode n a chi ec u e, pho og aphy and ci y eadings: Teó ilo Rego and he “School o Po o”, 4 h Annual In e na ional Con e ence on A chi ec u e, o g. A hens Ins i u e o Educa ion and Resea ch, A hens, G eece. Ranciè e, J. (2010). O espec ado emancipado Lisboa: O eu Neg o. Six, Jean-F ançois & Mussaud, V. (2002). Média ion. Pa is: Seuil. T e isan, A. (2015). T a elling Thea e. Po o Wik, A. (2004). “O -sc een space” in Black Box illumina ed (S ockholm/ Helsinki/ Lund: IASPIS/NIFCA/PROPEXUS). Au ho iden i ica ion Joana Ma eus. Coo dina o o Casa da Imagem / Fundação Manuel Leão / www.casa. mleao.p . A is Educa o . Mas e o A s in Teaching om he Faculdade de Psicologia e Ciência da Educação da Uni e sidade do Po o and Faculdade de Belas A es da Uni e sidade do Po o (FBAUP), (2009-2011), wi h a hesis on he o ma ion o poli ical iden i y o he eache . Mas e in Mul imedia A s om FBAUP, (2004- 2006). Inês Aze edo. Coo dina o o Casa da Imagem / Fundação Manuel Leão / www.casa. mleao.p . Mas e in Teaching o Visual A s (2009-2011) a he Faculdade de Psicologia e Ciências da Educação and Faculdade de Belas A es da Uni e sidade do Po o. Mas e in Con empo a y A is ic P ac ices (2005-06/ 2009-10) in Faculdade de Belas A es da Uni e sidade do Po o.