photography as art history

on Philip Barrocas

Dates: October 13, 20, 27 and November 03, 2025
Mondays
Hour: 19h to 21h
Duration: 04 meetings
Audience: general interested parties
Investment: R$ 350,00 + fees

Online course
Live, via video conferencing platform
Recorded classes available for a limited time only
Course includes certificate at the end

This course proposes a critical reflection on the place of photography in the history of art, from its invention in the 19th century to the present day. It offers a brief introduction to this history and, in subsequent sessions, explores languages ​​such as sculpture, performance, and literature from the perspective of the use of photography as an instrument. It also demonstrates how, over time, photography has been incorporated into the production of sculptural, performative, and literary works, integrating the artistic process—even if it has not always been recognized as "art."

Aimed at anyone interested in photography, the course seeks to promote dialogue around images from art history, offering critical readings that broaden participants' visual and conceptual repertoires and highlight different perspectives on images in the contemporary world.

Agenda

Meeting 01 | The history of art as the history of photography

Brief overview of the history of photography, from its invention in the 1931th century to the present day, focusing on the Brazilian context and the works of artists such as Hercules Florence, Militão Augusto de Azevedo, Cristiano Júnior, Claudia Andujar, Leticia Ramos, Mayara Ferrão, etc. This introduction is based on the text Pequena história da fotografia (XNUMX), by Walter Benjamin, and discusses subjectivity in historical construction.

Meeting 02 | Photography and Sculpture: subject, object and shadow

Since the 19th century, photography has been part of sculptural artistic processes, recording models and finished works (as in the case of Brancusi) or in process (as in Rodin). In this sense, how do we observe these images today? What if "documented" sculpture no longer exists? Images by Rodin and Brancusi will be placed in dialogue with more contemporary artists such as Lygia Clark, Hélio Oiticica, Lygia Pape, Lucia Koch, Nuno Ramos, and Cildo Meirelles.

Meeting 03 | Photography and Performance: presence, absence and archive

Since the 1960s, with conceptual art, photography began to be used to record ephemeral actions, whether sculptural or performative in nature. How do these images relate to those of the previous century? What can we learn by comparing the images of Antonio Manuel at the opening of the XIX Salon of Modern Art at the MAM, Rio de Janeiro, in 1970, with those of Auguste Neyt, photographed by Gaudenzio Marconi in 1877?

Works by artists such as Lenora de Barros, Francesca Woodman, Andrea Fraser, Tino Sehgal, and Eleonora Fabião will be presented in this discussion on the distinction between document and work, proposing new ways of thinking about presence, mediation, and recording in the field of contemporary art.

Meeting 04 | Photography and Literature: image and word

This meeting discusses the relationship between photography and words, exploring how written language can complement the photographic image and analyzing cases in which words go beyond the traditional caption or explanation, assuming a visual and conceptual role within photography, as in the works of Duane Michals and Lenora de Barros. It also addresses the interdependence between text and image in artistic and literary works, as in the cases of Clarice Lispector and W.G. Sebald.

Filipe dos Santos Barrocas

Filipe dos Santos Barrocas (Lisbon, 1982) is an artist and professor who has lived between Lisbon and São Paulo since 2010. His work, which draws on photography, lies at the intersection of visual and performing arts. With a PhD in Visual Arts from the University of São Paulo and a stint at Universidade Nova de Lisboa, he investigated the images associated with Brazil's founding myth. His master's research—published in the author's edition— The neutral body – explored the relationship between literature, sculpture, performance and photography.

MAM friend has 20% discount. Be part!
Students, teachers and retirees have a 10% discount
Doubts:
cursos@mam.org.br
WhatsApp: 11 99774 3987

By participating in this activity/event, you authorize, free of charge and definitively, MAM – Museu de Arte Moderna de São Paulo, to use your image, voice, biographical data and characteristic signs, captured in video, audio, photography and prints, for the purposes of recording, disseminating and promoting the Museum's activities, in any means, vehicles, supports, media, methods and technologies, tangible or intangible. If you do not want your image to be disclosed, please inform MAM (cursos@mam.org.br)

photo: The dance of power. Planalto Palace (1981/2003), by Orlando Brito. MAM São Paulo Collection