At the base of vision

André Cepeda likes to look around, to wander through familiar places and explore their semantic and aesthetic reverberations. The city where he lives, Porto, has been his privileged setting, often to signal border territories, marginal and exclusion zones, seen by the artist in their spatial and material peculiarity but also as symptoms of historical conditions, as fragments of a geography constrained by (social, political, and moral) hierarchies that prevent any type of communitarian cohesion or convergence.
The images in Depois ("After") date mainly from the last two years. Throughout this period, Cepeda strolled through various areas of the city, particularly at night, when the urban rhythm slows and movement (machines, people, language) abates. This is when life simulates its own suspension, as if transformed into a photograph.  The collection of images suggests a physical – and mental – journey through various sites in a city where human presence has been suspended. During this journey, this meander, André Cepeda photographs a wide range of subjects, including deserted streets, the façades of buildings, rudimentary constructions, monuments, ruins, and abandoned materials and objects in settings permeated by melancholy and a sense of emptiness, where nothing appears to happen. It is a view that is harsh and sensitive, meditative and critical, which reacts to space, matter, and light, bestowing certain places and objects with a character that is at once familiar and strange, banal and mysterious.
As with most of his previous work, these images fall outside the category of photography that embraces everyday moments and sudden fleeting gestures, elements that inspire a significant body of urban photography.  At the same time, it is not photography that seeks a generic, distant, cold, and abstract representation of the city.  On the contrary, in André Cepeda's photography there is a clear intention to work according to a principle of territorial intimacy, to borrow Jean-François Chevrier's apt expression, an approach based on a productive connection between a (spatial, experiential, and ethical) relationship with the subject matter and the analytical and speculative possibilities that the image offers.
In these photographs, the places tend to be depicted according to a more specific rather than general perspective.  There is a sense that the artist favours scenes that are devoid of human presence, as if an oblique movement towards a paradoxical and distended space-time were necessary, immune to the concrete nature of gestures and actions, so that a particular city, a particular time, a particular state of things, may be discerned and examined in all its breadth and complexity.    
Cepeda is interested in places within the (his) city as both a theme and a singular domain of perceptions, like two completely indivisible dimensions that confirm the existence of a fundamental relationship between seeing and reality, as if reality did not exist without the vision that forms and frames it. Consequently, there is a clear intention on Cepeda's part to establish a consistent and fertile congruence between the type of place and the type of photographic approach. There is an apparent preference for an approach that resembles the formal parameters of documentary photography, as a genre that values the descriptive, objective, and realistic qualities of photographic representation; in other words that is primarily motivated by technical precision, clear and precise image construction, and the rejection of any type of pictorial expressionism. As such, the images aim to redefine the meaning of photography, since they aspire to be no more or no less than photographic images, taking as a given the extraordinary capacity of the camera to heightening our awareness and perception of what surrounds us.  
However, a more thorough analysis of André Cepeda's photographs reveals that they are not entirely documentary, much less objective, by virtue of their rhetoric of marrying descriptive competence with the speculative, aesthetic, and redefining power of the image. Thus, it can simply be said that André Cepeda departs from objective image conventions in order to attain a more extensive and fruitful subjectivity. His images are unstable and transitory, which is unquestionably a quality because it fulfils one of the main expectations of artistic practice, the opportunity for a view that is different, extensive, and "obtuse" (according to the meaning attributed by Roland Barthes), capable of arousing something in the viewer that which is more subjective, intuitive, and projective. In André Cepeda's photographs, the documented referent, the concrete subject, the here and now of the image, is not the central element. One has to reflect on what the image arouses, on its presence value, on the resonance it creates.   They are images that have an impact at the level of reception, as a peculiar block of space-time, reminding us, as Thierry De Duve remarked, "that owing to its indexical nature, the photographic sign cannot be subject to semiotic analysis without the phenomenological or even the existential getting stuck to its skin, so to speak. In the image of the real transformed into surface, not only as a reference, over there, but also as existence, here."
Most of these photographs stand out for their naked simplicity. It is as if the subjects present themselves, without any artistic mediation.  The coldness and precision of the photographic record and the meticulousness of the image composition are, therefore, means that are given to underscoring the limitations and paradoxes of photography itself, in the sense of an interpretation that is not enclosed within the boundaries of the image, like a play on uncertainties that invites the spectator to reflect on other key issues within our collective and individual conscience.  In this way, André Cepeda's images remind us that, as spectators, we do not passively gaze; on the contrary, we are also (or above all) visual producers.
It is a direct and forthright contemplation that avoids obvious aestheticisms or formalisms and that subsumes an ethical and aesthetic stance: ethical because it rejects any grading of moral and social values; aesthetic because it dismisses thematic, symbolic, and artistic hierarchies, fully adhering to the idea that everything is a subject for photography. Thus, far from being an objective and rational approach, experiencing André Cepeda's photographic vision is akin to embarking on a sensitive and subjective exploration that awakens a new and immensely rich perception capable of demonstrating variations and oscillations in the appearance of things, frequently playing with the differences and tensions between figuration and abstraction, as can be seen in the diptych formed by two black and white photographs: on the one hand, an orthogonal view of part of the façade of a building with a reticular design; on the other hand, a photograph of a wall with a shapeless black stain, probably smoke marks accumulated over several years. Then there is the photograph of various fluorescent lights on a wooden counter or the image of a decorative detail on a concrete wall at the entrance to a building. Walls, architectural features, and objects are represented in such a way that they appear like drawings or sculptures.  In these cases, the intuitive and “visual” gaze demanded by a drawing (as an experience of forms) or a sculpture (in its focus on material, volume, and weight) appears to be foremost in the photographer's mind, as a creative inference in this kind of plot that Cepeda weaves into ordinary yet alien places, between impenetrable darkness and intoxicating light, with unknown spaces and apparently unusual objects.   
However, it is important to underline that the strange and the unusual are not exactly inherent qualities in things and places, although some images are able to depict more perplexing and unwonted situations.   The impression of strangeness is triggered by us as spectators and emerges from our sensitivity and perceptibility. It arises from a mental predisposition which, aroused by the image's freezing of space and time, magically blurs the borders between real and unreal, known and unknown, reinforcing a disturbing ambiguity, as if they were emanations of a hypnagogic state, the altered consciousness between wakefulness and sleep, in which the individual is more receptive to the emergence of other frequencies of vision. It is as though the photographer, during his peripatetic forays into the city, were recombining viewpoints – those of the anthropologist and the artist, the wanderer and the sleepwalker, the historian and the critic, a gaze created by crossovers and oscillations between states of perception and conscience that cannot avoid superimposing reality and fiction.
Nothing appears to happen in these places. Where are the inhabitants and the bystanders? There are no discernible movements or gestures.  There is no narrative.  A petrified world, deathly silent, where all that remains are spaces, constructions, and objects that point to a prior history.  An emptiness that disconcerts us and induces us to look even when there is apparently nothing to see. They are photographs built on silence and inexpressiveness, encouraging an inner shift towards an openness to the myriad of interpretive and psychological games at play.  In the first instance, because, as pointed out by Michel de Certeau in The Practice of Everyday Life, "places (...) are like the presences of diverse absences. What appears designates what is no longer there and what can no longer be seen.  (...) There is no place that is not haunted by many different spirits hidden there in silence, spirits one can 'invoke' or not". And because both the fixity of the photograph and the apparent emptiness suggested by the image are always transformed by the spectator, who attempts to give them life, which is always the case when the eye and the mind are confronted by fixity and emptiness.   
What are the experiential and perceptive horizons of a photographed place? How does photography, with its limitations and capabilities, have the prerogative to reconfigure the appearance of the territory and, consequently, provoke a perceptibility that is not confined to an experience of the visible? What are the underlying relationships between the city, its representations, and the social actuality? These are overarching questions for André Cepeda and many other contemporary artists, for whom tackling urban realities entails the ever more relevant and vital challenge of addressing the phenomena of appropriation and transformation of space, and recovering the incidents, quandaries, and echoes of mankind's history and its representations.  
These are not new preoccupations within the field of photography. What is evident is the unique role that this medium has assumed and continues to assume when experimenting with the limits of the visible, summoning and merging various temporalities as a means of (re)examining history.     Of the countless examples in the history of photography, we will only  cite the renowned photographs by Jacques-André Boiffard for André Breton's novel Nadja (just to allow us to trace a lineage that will be embraced by André Cepeda). A series of photographs of a deserted Paris, which functions as a non-official map of the city, each place photographed for having been the setting of a radical or revolutionary event in history. To bring up these spaces entailed the creation of another city, a city stripped of the charm of bourgeois life, a counter-archive of capitalist urbanity.  
Thus, André Cepeda's wanderings (strolls, tours) can be considered a process, an exercise in confrontation  and integration of body and space, eye and mind.  They are also about considering the possibility of forming new insights, a viewpoint with heuristic motivations, i.e. that seeks a different understanding of the nature of things, of knowledge (or rather non-knowledge) that favours the perceptible and the subjective. This is an experiential and conceptual attitude, which inevitably likens Depois to the legacy of an artist like Robert Smithson, in particular his seminal work A Tour of the Monuments of Passaic, New Jersey (1967). Initially published in the magazine Artforum, the work comprises a series of photographs of various “monuments” on the banks of the Passaic River, and a text that constructs a narrative describing the location and the return to his birthplace a few months before his 30th birthday.  The work evokes (through the images and text) “monuments” of an alien land, in this case the land of his birth, as if it were a different planet, a place subjected to a series of semantic experiences, testing the physical and conceptual parameters, pitting one against the other. In short, examining the place and seeking an active understanding instead of succumbing to the complacency of familiarity.  
This series of works contains a variety of subjects and photographic types.  One could begin with two images that appear as though they are intended to mutually gaze at each other, two types of representation, two opposing worlds: on the one hand, an oblique view of the trunks of a cactus under a faint light and an enigmatic blue; on the other, the detail of an architectural structure on a building.   Nature vs. culture, entropy vs. formal and material order, gradual growth vs. abrupt growth, night vs. day, conscious vs. subconscious; the conflict suggested by the confrontation of these two images delineates, to some degree, the horizon and the scope of the relationships intertwined within this place of images (in the sense that Cepeda's images construct a new place, relatively discordant with the sites that he photographed).  
They are images that aspire to be processes, relationships between the visible and the speakable, means of playing with the before and after, with territorial identity and alterity.  This way of creating and envisioning photography aligns Cepeda's work with a notable trend in contemporary photography that leans towards speculative and fictional exercises, visual and poetic expression, and the value of indetermination in the works, as legitimate (and necessary) forms and means of representing and addressing our experience of reality.
Some images are more ambiguous (especially in the way they assume the disruptive effect of light), while others present a more direct and literal stance, without ever sacrificing their transitory potencial. The confrontations between interior and exterior, between public space and private space, the idea of housing or shelter, also integrate the overarching themes that permeate this visual territory, as symptoms of a city marked by a radical transformation of its functional dynamics and forms of occupation.   
Particularly significant for Depois, since it constitutes its point of departure, is the series of eight photographs of a large sculpture by José Rodrigues. The sculpture is entitled Monumento ao empresário (Monument to the entrepreneur) and was unveiled in 1992 by then Prime Minister Aníbal Cavaco Silva. It is a work with post-modern architectural traits but which stands out most for its significant ideological overtones, a tribute to an economic growth model that would supposedly drive Portugal's development to the levels of the Central European countries. These photographs by André Cepeda never reveal the entire monument, nor its location on the intersection between Avenida da Boavista and Avenida Marechal Gomes da Costa. What we see are points of view, at times fragmented, at others close to sections of the sculpture. To the detriment of a comprehensive view, the photographs allow us to appreciate the characteristics of the materials, the mirrored glass, the iron, the wood, the stone, and the concrete.  Cepeda took these photographs over several months in 2014 and 2015, a period when the public arena in Portugal was plagued by the financial scandals and the effects of the deep economic and social crisis that continues to afflict various sectors of Portuguese society.  Accentuated by the focus on traces of vandalism and the deterioration of the materials, these eight images produce a fragmentation of the sculpture, configuring it as an anti-monument, a critical reversal of the homage to the entrepreneur (also as the personification of an economic, political, and social programme), highlighting the artist's interest in combining aesthetics and historical scrutiny.     
This example, like so many others that are apparent in Depois, demonstrates a clear attempt by André Cepeda to bring the equivocal effects of photography to bear: on the one hand, we see that the photographic images establish and document materials, objects, and situations, sanctioning them with the weight of reality; yet, along totally different lines, there is this sense of the erosion of confidence in the power of representation to correlate with the real world. One sees that the images are not limited to freezing and recreating the existing world, that there is an illusory dimension (magical, hallucinatory, and surreal) which allows the image to potentially create a new, parallel reality.
All the Depois photographs undoubtedly evoke a bleak landscape, condemned to desertification, abandonment, and oblivion (recurring themes in Cepeda's work, particularly in Ontem ("Yesterday") and Rien ("Nothing"). However, this should not distract us from the essence of these photographs.  They are about what remains of humankind, within the sphere of the city, in public space, in architecture, on the ground, in objects, even when there is nobody left to tell us how things were.   They are images of rubble and remains – of the lives of its inhabitants, of the accomplishments of its constructors –, places where the human presence seems to have been replaced by its ghosts.    
It is a gloomy scenario, a city confronted with the vision of its dystopic destiny.    One could conjure images of André Cepeda when recalling the words of the stalker in the homonymous film by Andrei Tarkovsky, the man who drove people to an apocalyptic and mutating place called the Zone: “Our moods, our thoughts, our emotions, our feelings can bring about change here. And we are in no condition to comprehend them. Old traps vanish, new ones take their place; the old safe places become impassable, and the route can either be plain and easy or impossibly confusing. That’s how the zone is. It may even seem capricious. But in fact, at any moment it is exactly as we devise it, in our consciousness… everything that happens here depends on us, not on the zone.”
Depois is, in essence, a work about what remains, but also about our desires and what we are prepared to see in and make of the images, to reclaim the need for an ethics of observation and reflection on all the sites of abandonment and oblivion.

Sérgio Mah

At the base of vision text by Sérgio Mah was writen for the Book "Depois" published at the occasion of the exhibition at Chiado Museum

Since 2005, I have been working on several projects in which the working space is the Portuguese contemporary landscape, particularly the city of Porto. I work with what I find on the streets, with the people I come across. It is a daily and ongoing process that is often related to our own evolution and the way we experience places. I have chosen the large format camera 4x5 inch because, apart from the precision and technical accuracy, it requires a slow working process. This method is determinant to a long and attentive observation, which allows me to connect and relate with the object or landscape I wish to photograph.

I am always trying to build new ways of looking at reality and the space that is presented to me. Essentially, I search for spaces and moments that have been forgotten or rejected, where there is a certain suspension. Those things that belong to us, that we are used to look at. My interest lies in the sense that I am obliged to create an image and relate to its space, trying to forget its history and original reception contexts. With my only focus on light, space and time, I feel more freedom to create new contexts for the images, as if this almost sculptural treatment would render a dignity apparently forgotten or neglected. And so, these images become moments that propitiate a wider reflection on the way we build our cultural, social and political identity.

I am especially interested in the present time, the big day-to-day issues, the universal time, the economic crisis, the instability and incertitude, moments that don’t belong to history, that are rejected, some kind of forgotten heroes. I speak about things that are common to all places and are easily found, but difficult to select and interpret. I have been giving special attention to the accuracy of the publication and the importance of an international distributor capable of transmitting the social, historical, political and aesthetic components that my projects hold, and therefore stating my artistic path, so that it is in fact a mark in my career and not merely a passing by experience.

I have been working with photography, exhibiting and publishing. The 16mm and super8 film have always made part of my experiences and are very important to the way I understand the space I define to work with. The field recording, radio and studio recordings, make part of my exhibition projects. 


“Obstruct things to the limit,

try to look at emptiness,

the void,

until I find myself in this space”








00351 934271708


Ate the moment André Cepeda is living in New York as an artist in Residence at the residencyunlimited

My last book published by Pierre Von Kleist Editions, can be ordered here

Depois, a solo exhibition at Chiado, Museu Nacional de Arte Contemporânea, Lisbon, Curated by Sérgio Mah from 6 may until 25 september 2016.



André Cepeda was born in Coimbra, in 1976. He currently lives and works in Porto, Portugal. In 2012 he was artist in residence at the FAAP, São Paulo, as the recipient of a scholarship granted by the Calouste Gulbenkian Foundation. Cepeda was shortlisted for the Paul Huf Award, Foam Fotografiemuseum, Amsterdam (2011); Prémio BESPhoto, Lisbon (2010); and the EDP Foundation New Artists Prize, Lisbon (2007). He has been showing his work regularly, in Portugal and abroad, since 1999. He has since then made multiple artist residencies and received many commissions, among which stand out the 2010 Lisbon Architecture Triennale, EDP Foundation (2014) and the Fundação de Serralves (2014). In 2016 he was artist in residency at the Residency Unlimited, in Brooklyn NY, in the context of the partnership Atelier-Museu Júlio Pomar/ EGEAC and Residency Unlimited, NY.

Among his many solo exhibitions stand out: Depois, MNAC – Museu Nacional de Arte Contemporânea, Lisbon; Rien, Kasseler Fotoforum, Kassel, Germany, and Centro Cultural Vila Flor, Guimarães, Portugal, 2014; Kanal, standard/deluxe, Lausanne, 2014; Explicação da Lâmpada, Galeria Pedro Oliveira, Porto, 2014; Rien, Museu do Neo Realismo, Vila Franca de Xira, 2013; Ontem, Gallery INVALIDEN, Berlin, Germany, 2012; Kanal, with Eduardo Matos, Espace Photographique Contretype, Brussels, 2012, and standard/deluxe, Lausanne, Switzerland, 2011; Ontem, Espace Photographique Contretype, Brussels, Belgium, 2010; BesPhoto 2010, Museu Berardo, CCB, Lisbon, 2010; River, Galeria Pedro Cera, Lisbon, 2009.

André Cepeda has exhibited his work in galleries, museums and art institutions in many different countries: Faulconer Gallery, Grinnell, Iowa, USA; MARCO — Museo de Arte Contemporánea de Vigo, Spain; Haus der Photographie, Hamburg, Germany; Kasseler Fotoforum, Kassel, Germany; Galerie INVALIDEN1, Berlin, Germany; standard/deluxe, Lausanne, Switzerland, The Mews - Projeto Espaço, London, UK; Galleri Image, Aarhus, Denmark; Wohnungsfrage — Haus der Kulturen der Welt, Berlin, Germany; Museu Oscar Niemeyer, a Caixa Cultural, Rio de Janeiro and MASP — Museu de Arte de São Paulo, Brazil; Serralves Contemporary Art Museum, Porto, Portugal; CGAC—Centro Galego de Arte Contemporánea, Santiago de Compostela, Galicia. Spain; Calouste Gulbenkian Foundation, Le Bal, Paris, France.
His work is represented in multiple public and private collections.


André Cepeda founded Blues Photography Studio in 2005 in Oporto where he produces work for many photographers, instituitions and gallery’s, printing, scanning and photographing. And since 2008 he runs Inc. Livros e edições de autor, a bookshop specialized in artist books. Since 2013 André Cepeda gives a one week workshop every year at the Photography School CEPV, Vevey, Switzerland.


André Cepeda is represented by Cristina Guerra Contemporary Art and Galeria Pedro Oliveira.



Serralves Museum of Contemporary Art, Porto: work commissioned for the exhibition The SAAL Process: Architecture and Participation, 1974-1976
European Photo Exhibition Award, EPEA02
Ordem dos Arquitectos, Lisbon
Offline Residence (Xerem Associação Cultural), Lisbon
National Museum of Ancient Art, Lisbon
Artist-in-residence, Fundação EDP – Electricity Museum, Lisbon
Calouste Gulbenkian Foundation, Lisbon
Artist-in-residence, FAAP, Sao Paulo, Brazil
Nominated for the Paul Huf Award, Foam Fotografiemuseum Amsterdam, Holland
Ordem dos Arquitectos, Lisbon
Calouste Gulbenkian Foundation, Lisbon
Lisbon Architecture Triennal, Lisbon
BESPhoto Photography Prize, Lisbon
Champalimaud Foundation, Lisbon
Reitoria da Universidade do Porto, Porto
EDP Prize – New Artists
IEFP, Ministério do trabalho, Testemunhos – Iniciativa Novas Oportunidades
RAR Holding, Porto
Artist-in residence, António Henriques Galeria de Arte Contemporânea, Viseu
Centro Nacional de Cultura, Lisbon
Museu da Imagem, Encontros de Imagem, Braga
Portuguese Center of Photography, Porto
Artist-in-residence, Espace Photographique Contretype, Brussels, Belgium

Solo exhibitions:



Rasgo, Cristina Guerra Contemporary Art, Lisbon, 2017


At the eyes ground, Fridman Gallery, New York, 2016
Depois, MNAC – Museu Nacional de Arte Contemporânea, Lisbon 
Untitled, Old School, Lisbon a project by Susana Pomba
Rien, Kasseler Fotoforum, Kassel, Germany
Rien, Centro Cultural Vila Flor, Guimaraes
Kanal, Standard Delux, Lausanne, Switzerland
Rien, Câmara Escura, Torres Vedras
Explicação da Lâmpada, Galeria Pedro Oliveira, Porto
Sob um sol recto, Galeria Pedro Cera, Lisbon
Rien, Galeria Pedro Cera, Lisbon
Rien, Museu do Neo-Realismo, Vila Franca de Xira 
Ontem, Galery INVALIDEN1, Berlin, Germany
Canal, with Eduardo Matos, Espace Photographique Contretype, Brussels, Belgium
CAV-Centro de Artes Visuais, Coimbra
O que o futuro foi, Mostra de Vídeo, Laboratório das Artes, Guimaraes 
Untitled, Galeria Pedro Oliveira, Porto
Ontem, Espace Photographique Contretype, Brussels, Belgium 
BESPhoto Photography Prize, Museum Berardo, CCB, Lisbon
River, Galeria Pedro Cera, Lisbon; Galería AdHoc, Vigo, Spain
Untitled, The Mews – Project Space, London, UK
Project Room, Galeria Reflexus, Porto
Sem título, Mad Woman in the Attic, Porto
Ontem, ZDB Gallery, Lisbon
Stasis, Galeria Pedro Cera, Lisbon
Provas de Trabalho, Projecto Apêndice, Porto
Moving#3, IN.TRANSIT, Edificio Artes em Partes, Porto
Moving#2, Galeria AdHoc, Vigo, Spain
Moving, Cinematic Art Gallery, Vila do Conde
Anacronia, KGaleria, Lisbon
Anacronia, Museu de Imagem, Braga
Anacronia, Espace Photographique Contretype, Brussels, Belgium
Jungle, Espaço Bartolomeu 5, Lisbon
Viseu, António Henriques Galeria de Arte Contemporânea, Viseu
Closer, Galeria +Consigo, Coimbra
Mapa de Intensidades, Oficina, Galeria Fernando Santos, Porto
Anacronia, Gallerie Image, Aarhus, Denmark
Corpo, tempo, desejo e morte, Galeria Massa, Porto e Vulcão dos Capelinhos, Azores
Pontes, lugares e antropologia, Silo-espaço cultural, Portuguese Center of Photography, Porto
Anacronia, Encontros de Fotografia de Coimbra, Coimbra

Group exhibitions:
Edita: secuencia/sentido, CGAC-Centro Galego de Arte Contemporánea, Santiago de Compostela, Galicia
The New Social, European Photo Exhibition Award, House of Photography at Deichtorhallen Hamburg, Germany
The SAAL Process: Architecture and Participation, 1974-1976, CCA – Canadian Centre for Architecture, Montreal, Canada (cur. Delfim Sardo and Susan Cotter)
International Fotobook Festival, Kassel, Germany
Calouste Gulbenkian Foundation, Paris, France (cur. Miguel von Hafe Pérez)

The SAAL Process: Architecture and Participation, 1974-1976, Serralves Museum of Contemporary Art, Porto (cur. Delfim Sardo and Susan Cotter)
The New Social, European Photo Exhibition Award, Calouste Gulbenkian Foundation, Paris, France
Le Bal Books Week-end, Le Bal, Paris, France
The New Social, European Photo Exhibition Award, Fondazione Banca del Monte di Lucca, Lucca, Italy; Calouste Gulbenkian Foundatio 02, Paris, France
Nobel Peace Centre, Radhusplassen, Oslo, Sweden (cur. Sérgio Mah)
SUB 40’, Galeria Municipal Almeida Garrett, Porto
Brussels Unlimited - Collection Contretype, Espace Contretype, Brussels, Belgium
Revisitação, Galeria Pedro Oliveira, Porto
Roubaram a partitura, no vazio seguimos, Jardins Efémeros, Viseu (cur. Miguel von Hafe Pérez)
Lei de Ohm, Museu da Electricidade, Lisbon (cur. Filipa Valladares)
Muralhar: Artistas POrtugueses Contemporâneos, Oi Futuro, Rio de Janeiro, Brazil (cur. Delfim Sardo)
The New Social, European Photo Exhibition Award, The Nobel Peace Center, Oslo
Biennial of Photography MASP/Pirelli, MASP, São Paulo (cur. Ricardo Resende)
Visões do Desterro, Caixa Cultural do Rio de Janeiro, Brazil
A Arca Invisível, National Museum of Ancient Art, Lisbon (cur. Delfim Sardo)
Noise, Pedras & Pêssegos, Porto
Buildings and Remnants, Fábrica ASA, Guimaraes European Capital of Culture, Guimaraes (cur. Inês Moreira and Agneta Szylak)
Materiality, Alternativa 12, Wypsa Institute of Art, Gdansk, Poland (cur. Inês Moreira and Agneta Szylak)
New/Old Life, Galery Blanca Berlin, Madrid, Spain
Wherever I Lay My Camera Down is Home, Photographic Festival in Rome, Rome, Italy (cur. Paul Wombel)
Ontem, Encontros de imagem de Braga
Arte Lusófona Contemporânea, Galeria Marta Traba – Fundação Memorial da América Latina, Sao Paulo, Brazil
Panis et Circensis, Centro de Artes de Sines, Sines (cur. Filipa Valladares)
Da outra margem do Atlântico – videoarte e fotografia portuguesa, Centro de Artes Helio Oiticica, Rio de Janeiro, Brazil (cur. Paulo Reis and David Barro)
Private Lives, Centro Cultural de Cascais, Cascais
Da Cartografia do Poder aos Itinerários do Saber, Museu Nacional-Universidade Federal do Rio de Janeiro, Brazil, and Faculdade de Ciências e Tecnologias da Universidade de Coimbra
Ré-collection, Espace Photographique Contretype, Brussels, Belgium (cur. Jean-Louis Godefroid
Impresiones Y comentários – Fotografia Contemporánea Portuguesa, Fundació Foto Colectania, Barcelona, Spain (cur. João Fernandes)
A iminência da queda, Galeria Diário de Notícias, Lisbon
Rescaldo e Ressonância, Reitoria da Universidade do Porto, Porto (cur. Inês Moreira)
Está a morrer e não quer ver, Espaço Campanhã, Porto (cur. José Maia)
The Core of Industry – European Photography, Reggio Emilia 2008 – Musei Civici di Reggio Emilia, Spazio Gerra, Reggio Emilia, Italy
Testemunhos – Trajectos de Qualificação, Edifício da Alfândega, Porto (cur. Sérgio Mah)
Paraísos Indómitos, Marco Museu de Arte Contemporáneo de Vigo, Spain (cur. Virginia Torrente)
Territoire, 6ª Biennale Internacional de Fotografia de Liége, Liége, Belgium 
Where are you from? Portuguese Contemporary Art, Faulconer Gallery, Grinnell College, Grinnell, Iowa, USA (cur. Lesley Wright)
EDP Prize – New Artists, Central Eléctrica do Freixo, Porto
Antimonumentos, António Henriques Galeria de Arte contemporânea, Viseu (cur. Miguel von Hafe Pérez)
Deslocações: 4 perspectivas contemporâneas portuguesas, Comité Económico e Social Europeu, Brussels, Belgium (cur. Lúcia Marques)
PhotoLondon 2007, Galeria AdHoc, London, UK
Intro, Espace Photographique Contretype, Brussels, Belgium
Bxl, Centre Wallonie-Bruxelles à Paris, Paris, France
Busca-Pólos, Centro Cultural Vila Flor, Guimaraes and Pavilhão de Portugal, Coimbra
Residências I, Museu do Caramulo, Caramulo
Encontro de Arte Jovem, Bienal de Arte, Chaves
CO2, Miedzynarodowe Centrum Kultury, Krakow, Poland
Colecção da Fundação PLMJ, Centro de Artes Visuais, Coimbra (cur. Miguel Amado)
Creators of European Photography, Photo Festival Union, Lodz, Poland
Desenhar Discurso: Digressões sobre uma urbanidade disruptiva, XIII Bienal de Cerveira, Vila Nova de Cerveira (cur. Miguel von Hafe Pérez)
Re-produtores de sentido, Arte Sesc, Rio de Janeiro, Brazil (cur. Miguel von Hafe Pérez)
E no princípio era a viagem, Bienal de Pontevedra, Pontevedra, Spain (cur. Miguel von Hafe Pérez)
Et puis... voilá, António Henriques Galeria de Arte Contemporânea, Viseu
Colecção de Arte Contemporânea da Caixa Geral de Depósitos, Museu Extremeño e Iberoamericano de Arte                      Contemporânea, Badajoz, Spain
Pingyao International Photography Festival, Pingyao, China
Salão Europeu de Jovens Criadores, Montrouge/Sant Cugat/Amarante
Galeria Fernando Pradilla, Madrid
Pontes, lugares e antropologia, Cadeia da Relação, Portuguese Center of Photography, Oporto
Memórias da Cidade, Encontros de Imagem, Braga
Bruxelles Active, C02, Brussels, Belgium (cur. Jean-Louis Godefroid)
Bruxelles a l’infini, Espace Photographique Contretype, Brussels, Belgium (cur. Jean-Louis Goderfroid)


Fundação de Serralves – Museum of Contemporaray Art, Porto

CGAC – Centro Galego de Arte Contemporânea, Santiago de Compostela, Spain

MNAC – Museu Nacional de Arte Contemporânea, Lisboa

Colecção António Cachola, Elvas

Museu de Arte do rio, Rio de Janeiro, Brasil

Espace Photographique Contretype, Brussels, Belgium

Faulconer Gallery, Grinnell, Iowa, USA

Instituto Camões, Foreign Affairs Ministery, Lisbon

National Photography Collection, Ministery of Culture, Porto

Encontros de Fotografia de Coimbra, Coimbra

Museu da Imagem/Encontros de Imagem, Braga

Culturgest-Caixa Geral de Depósitos, Lisbon

PLMJ Sociedade de Advogados, Lisbon

Museu do Caramulo, Caramulo

Câmara Municipal de Chaves, Chaves

Banco Espírito Santo, Lisbon

Ilídio Pinho Foundation, Oporto

Amorim Turismo, Troia

RAR Holding, Porto

ZdB Collection, Lisbon

Mica, Vigo, Spain



RDHK, self published, NY, 2016

Depois, MNAC/Pierre von Kleist Editions, Lisbon, 2016

Rua Stan Getz, Pierre von Kleist Editions, Lisbon, 2015

Rien – text book, CCVF, Guimarães, 2014

Whispering Light, self published, 2013

Kanal, Edition Contretype, Brussels, 2012

Rien, Pierre von Kleist Editions, Lisbon, 2012

Ontem, Cahier Blue, Brussels, 2010

River, self published, 2009

Anacronia, Edition Contretype, Brussels, 2005



River, Lp, 50 copies

Kanal, Lp, 25 copies

Electricity, single, 150 copies



casal, 16mm, color, 1'25''

bandeiras, 16mm, color, 2’30’’

rien, 16mm, color, 3’15’’