Tudo entre nós Rubens Mano (2004)

'All among us'
installation
light bulbs, transformer, cables



as dwellers of large cities, we are more or less familiar with mechanisms for altering the urban landscape. nonetheless, in light of the speed achieved within our metropolis, such procedures would appear to be increasingly 'distant' from our everyday lives, pointing out to us how distant we are, or think we are, from a more direct intervention upon the city's spaces. articulations between image and space
(or between photography and architecture) become intensified when we understand that the dynamics of the production of images may be incorporated to procedures
for the construction of space, or when they point to a correspondence between the transformation of cities and the way we see and 'activate' such environment.

the images presented here seek to emphasize that correspondence, linking procures for the alteration of certain spaces to oscillations in our perceptive system, and may be apprehended within a narrative marked by the idea of constancy [something that is repeated or that we repeat in our observations, our acts, in our 'construction of spaces'...], or understood as elements that establish links between us and the environment that surrounds us. because it is a 'body' of works constructed concomitantly with actions projected for city spaces, the material presented also suggests a broader investigation of urban space, not only because it develops the approach in question, but because they present the photographic image as the principal articulator of that creative process.

transformed into dilators of a given experience, these photographs indicate the 'overflow' of insertions produced within the body of cities and confirm the existence of a field situated beyond its borders, one that envelops and eventually comes to belong to them. they refer us to the experience of constructing spaces, affording access to other degrees of the materialization of certain occurrences, or actions - beyond the simple act of recording them. this is because they reveal a slight detour from the narrative structures of documentary photography to allow us to perceive the presence of a cut in movements of the construction of the landscape.