{"id":141,"date":"2026-04-20T21:19:29","date_gmt":"2026-04-20T20:19:29","guid":{"rendered":"https:\/\/mariakowalski.pt\/?page_id=141"},"modified":"2026-04-20T21:34:37","modified_gmt":"2026-04-20T20:34:37","slug":"o-punctum-de-barthes-e-o-album-de-fotografia-da-familia-narciso-costa-2019","status":"publish","type":"page","link":"https:\/\/mariakowalski.pt\/?page_id=141","title":{"rendered":"O Punctum de Barthes e o \u00e1lbum de fotografia da fam\u00edlia Narciso Costa"},"content":{"rendered":"\n
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Resid\u00eancia Art\u00edstica – Galeria de Arte Banco de Portugal<\/p>\n\n\n\n

Roland Barthes (1915-1980) foi um cr\u00edtico liter\u00e1rio, te\u00f3rico, fil\u00f3sofo, linguista e semi\u00f3logo. No seu livro \u201cA C\u00e2mara Clara\u201d (1980), escrito no per\u00edodo de luto da morte da sua m\u00e3e, Barthes formula uma reflex\u00e3o que viria a reunir, num \u00fanico texto, todos os temas que o rondavam e o feriam\u200a\u2014\u200afotografia, lembran\u00e7a e morte. Na sua an\u00e1lise, a determinada inst\u00e2ncia, surge o Punctum: \u201cO punctum de uma fotografia \u00e9 esse acaso que, nela, me punge (mas tamb\u00e9m me mortifica, me fere). (\u2026) como um quadro vivo, a figura\u00e7\u00e3o da face im\u00f3vel e pintada sob o qual vemos os mortos. Fotografam-se coisas pra expuls\u00e1-las do esp\u00edrito. As minhas hist\u00f3rias s\u00e3o uma maneira de fechar os olhos, (\u2026) deixar o detalhe remontar sozinho \u00e0 consci\u00eancia afetiva.\u201d (Barthes, 1980) Nesta resid\u00eancia art\u00edstica \u00e9 trabalhada a produ\u00e7\u00e3o de sentido da imagem fotogr\u00e1fica na sua desconstru\u00e7\u00e3o enquanto documento de mem\u00f3ria afetiva. Questiona-se aqui se o significado do conte\u00fado afetivo e documental, da imagem em si, poder\u00e1 passar a ser apenas detentor de um valor est\u00e9tico e imaginativo. O retrato deixa de ser retrato? Pela sua desconstru\u00e7\u00e3o e reinterpreta\u00e7\u00e3o imag\u00e9tica resultar\u00e1 apenas numa experi\u00eancia est\u00e9tica, sem a sua carga afetiva original? O processo de desconstru\u00e7\u00e3o e constru\u00e7\u00e3o das imagens foi realizado a partir do \u00e1lbum fotogr\u00e1fico de fam\u00edlia de Narciso Costa, doadas pela filha de Narciso, Manuela Costa, ao m|i|mo \u2013 museu da imagem em movimento. Tentei perceber se esta quest\u00e3o da vida e morte, patente em fotografias de 1910-20 da minha fam\u00edlia portuguesa, e que, desde a minha inf\u00e2ncia, me criaram alguma ang\u00fastia e sensa\u00e7\u00e3o de nostalgia de certo modo dolorosa, seria apaziguada pela transforma\u00e7\u00e3o das imagens, pelo processo de altera\u00e7\u00e3o, quer da pr\u00f3pria imagem, quer do meio de impress\u00e3o manual em suportes n\u00e3o convencionais. Descobri que, para mim, n\u00e3o se retirou qualquer carga afetiva transparente nestas mem\u00f3rias fotogr\u00e1ficas. Pelo contr\u00e1rio, interiorizei tamb\u00e9m essa dimens\u00e3o afetiva: aquelas pessoas passaram tamb\u00e9m a fazer um pouco parte de mim. Mas, surpreendentemente, apaziguaram-me. Primeiro porque fui testemunha de vidas que, pelo que percecionei, foram felizes. Depois, porque percebei que as nossas vidas s\u00e3o uma constru\u00e7\u00e3o de redes. A partir da pessoa de Narciso Costa, tive uma liga\u00e7\u00e3o, ainda que visual, de muitas outras vidas a que a ele se uniram, direta ou indiretamente. Esta rede torna-se imortal. O nosso contacto com outros, fugaz ou mais permanente, torna-nos imortais, na medida em que a exist\u00eancia de cada um de n\u00f3s est\u00e1 e fica ligada \u00e0s vidas de com quem temos contacto ao longo da vida, sob v\u00e1rias formas. Inclusive pelo facto de algu\u00e9m, um dia, pegar nessas imagens, estud\u00e1-las, selecion\u00e1-las e exp\u00f4-las num espa\u00e7o p\u00fablico. Tamb\u00e9m assim as vidas das pessoas que fazem parte destas mem\u00f3rias fotogr\u00e1ficas se imortalizam e continuam, possivelmente, a um remontar pessoal de uma consci\u00eancia afetiva.<\/p>\n\n\n\n

ENG.<\/p>\n\n\n\n

Artistic Residency – Banco do Brasil Art Gallery<\/p>\n\n\n\n

Roland Barthes (1915-1980) was a literary critic, theorist, philosopher, linguist, and semiotician. In his book “Camera Lucida” (1980), written during the period of mourning for his mother’s death, Barthes formulates a reflection that would bring together, in a single text, all the themes that haunted and wounded him\u2014photography, memory, and death. In his analysis, at a certain point, the Punctum emerges: “The punctum of a photograph is that chance that, in it, stings me (but also mortifies me, wounds me). (\u2026) like a living painting, the figuration of the immobile and painted face under which we see the dead. Things are photographed to expel them from the spirit. My stories are a way of closing my eyes, (\u2026) letting the detail rise up on its own to affective consciousness.” (Barthes, 1980) This artistic residency explores the production of meaning in photographic images through their deconstruction as documents of affective memory. It questions whether the meaning of the affective and documentary content of the image itself can become solely an aesthetic and imaginative value. Does a portrait cease to be a portrait? Will its deconstruction and reinterpretation result only in an aesthetic experience, devoid of its original affective charge? The process of deconstruction and construction of the images was carried out using the family photo album of Narciso Costa, donated by Narciso’s daughter, Manuela Costa, to m|i|mo \u2013 museum of the moving image. I tried to understand if this question of life and death, evident in photographs from 1910-20 of my Portuguese family, and which, since my childhood, has created some anguish and a somewhat painful sense of nostalgia, would be appeased by the transformation of the images, by the process of alteration, whether of the image itself or of the means of manual printing on unconventional supports. I discovered that, for me, no transparent emotional charge was removed from these photographic memories. On the contrary, I also internalized this affective dimension: those people also became a part of me. But, surprisingly, they soothed me. First, because I witnessed lives that, from what I perceived, were happy. Then, because I realized that our lives are a construction of networks. From the person of Narciso Costa, I had a connection, albeit visual, to many other lives that were joined to him, directly or indirectly. This network becomes immortal. Our contact with others, fleeting or more permanent, makes us immortal, insofar as the existence of each of us is and remains linked to the lives of those with whom we have contact throughout life, in various ways. Including the fact that someone, one day, takes these images, studies them, selects them, and exhibits them in a public space. In this way, the lives of the people who are part of these photographic memories are also immortalized and continue, possibly, to a personal reconstruction of an affective consciousness.<\/p>\n","protected":false},"excerpt":{"rendered":"

Resid\u00eancia Art\u00edstica – Galeria de Arte Banco de Portugal Roland Barthes (1915-1980) foi um cr\u00edtico liter\u00e1rio, te\u00f3rico, fil\u00f3sofo, linguista e semi\u00f3logo. No seu livro \u201cA C\u00e2mara Clara\u201d (1980), escrito no per\u00edodo de luto da morte da sua m\u00e3e, Barthes formula uma reflex\u00e3o que viria a reunir, num \u00fanico texto, todos os temas que o rondavam […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-141","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/mariakowalski.pt\/index.php?rest_route=\/wp\/v2\/pages\/141","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mariakowalski.pt\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/mariakowalski.pt\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/mariakowalski.pt\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mariakowalski.pt\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=141"}],"version-history":[{"count":5,"href":"https:\/\/mariakowalski.pt\/index.php?rest_route=\/wp\/v2\/pages\/141\/revisions"}],"predecessor-version":[{"id":166,"href":"https:\/\/mariakowalski.pt\/index.php?rest_route=\/wp\/v2\/pages\/141\/revisions\/166"}],"wp:attachment":[{"href":"https:\/\/mariakowalski.pt\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=141"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}