*1980, Sao Paulo / Brasilien

Aufgewachsen in São Paulo und New York, beginnt Bittencourt seine Karriere in der Fotoabteilung von Valor Econômico, dem wichtigsten Finanzpublikation in Brasilien, wo er vier Jahre als Fotograf und Assistant-Editor gearbeitet hat. Bittencourt hat darüber hinaus auch als Fotograf in Mosambik gearbeitet und war Teil der Cia de Foto, São Paulo.

Preise

2007 - Oskar Barnack Prize

2007 - Portfolio Pick Review - Aperture Foundation

2007 - IIIº New Holland Award

2006 - Fundação Conrado Wessel Prize

Ausstellungen (Auswahl)

2008 5th Amnesty International Human Rights Prize, Berlin

Passport to the Arts / The New Yorker, New York

Fnac, Lisboa, Coimbra, Porto, Viseu, Chiado / Portugal

Leica Art Gallery, Solms, Prag, Wien / Österreich, Tokio, Melbourne

Cicero Galerie, Berlin

Museo Nacional de Artes Visuales, Montevideo / Uruguay

Point of View Art Gallery, New York

Festival de La Luz, Buenos Aires / Argentina

Encuentros abiertos de fotografia - Festival de La Luz, Buenos Aires / Argentina

Centro Cultural Recoleta. Buenos Aires

Festival Foto América 2008, Santiago / Chile

Museo Nacional de Bellas Artes, Santiago / Chile

2007 Rencontres d’Arles de Photographie, Arles

Semana Negra, Gijón / Spanien

1º Fórum Latino-Americano de Fotografia / Itaú Cultural, São Paulo

Leica Art Gallery, Istanbul

MASP (Museu de Arte de São Paulo), São Paulo

Museu Nacional, Brasília

Publikationen (Auswahl)

2008    In a window of Prestes Maia 911 building. (Dórea Books & Arts - DBA (Brasil), Dewi

Lewis Publishing (England) and (United States), Kehrer Verlag (Germany)

2006   São Paulo 450 years / 450 images 10 Photographers X 45 Clicks. (Editora Decór /

Brasil)

Galería Abierta é um espaço de exposição virtual que o FotoAmérica 2008 põe a disposição de qualquer fotógrafo que deseje mostrar seu trabalho em formato digital. A presença no Galería Abierta não significa necessariamente que as fotos serão apresentadas em espaço de exposição físico.

Para participar acesse o regulamento e ficha de inscrição no site do Festival.

Foto: Julio Bittencourt

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(for pictures please use the links provided or go directly to www.juliobittencourt.com)

Simone: What is it that you are interested in when portraying architecture/buildings and people? Also, when portraying urban situations?

Julio: I'll start from the second question. Urban situations interest me for many different reasons. The first and most important one is because I grew up in São Paulo (Brazil), a city today with 16 million inhabitants, then moved to New York where I spent my adolescence.

I think that can explain a lot of where my interest comes from. In such huge cities like those, you find different ethnical groups (in the case of Brazil really mixed), social classes, landscapes of 'opposite worlds' many times only a few blocks and minutes from each other. In my view, architecture is between / among all of that and plays a very important role in bringing together such differences and more often creating larger distances between people and their environment and everything else that comes with that.

In the works you'd mentioned (i.e. As quarto direcoes, Deixei uma carta pra você, Caminhante, Prestes Maia 911) I tried to show in different ways the 'barriers' that architecture creates to divide, separate all this diversity, many times creating 'big gaps' inside these societies. How architecture in many different ways goes way beyond lines, shapes, forms and light when it comes across people's lives for good and bad.

S: What do you think about the recent urban developments?

J: Hard to know where they are going, which I guess makes me as a photographer want to follow it and who knows, maybe find out a few. Still I find them very interesting. São Paulo, for example, is definitely amongst the cities which grew the most during the last 20, 30 years. There are literally different worlds inside this huge urban area. Something I think will happen each time more in urban centers is the miscegenation of its societies as we have here in São Paulo, for example. Due to technology mostly, the world is becoming smaller each time, making distances shorter and shorter.

S: What are your ambitions with your photographs (esp. your "urban" works, but also in a broader point of view)? What is it that you want to "catch" with your pictures?

J: Don't know if I can answer that question today or ever will. I guess this is what keeps me going. Just as I do with my photographs, the idea of asking seduces me more than trying to answer them. Of course, you look for answers and sometimes we find some, but we definitely end up finding more questions and the more questions we ask, more deeply inside any subject we get.

More questions to me means better discussions and maybe answers. Photography isn't different. I think my answer regarding my ambitions would be to 'keep asking' with my photographs and hopefully people will do the same when they see them. Make people think, ask and discuss is already a huge challenge.

S: How do you choose your motifs?

J: I really don't know and would love if someone could tell me that. Motifs come from everywhere and mostly anything. Books you read, movies you watch, people you know, people you meet, places and things you see. Your own life. I think there isn't one place where they come from. Although you choose the stories you want to tell, in my case with photographs, the initial idea is almost never something rational. It becomes rational afterwards when editing.

S: How do you take/compose your photographs – spontaneous "snapshots", attentively planned shoots,…?

J: It depends on the story, on what, how and why you want to shoot and show something. I have different works (some are not in the website yet), where I've done both things approaching different subjects. I like mixing them a lot. I really don't like to put labels in what I do neither 'get stuck' with a 'recipe' that worked for an specific project.

S: Digital or "classic" photographs?

J: Also depends on the work. More digital today, but I also shoot some works in large format.

Das Projekt "Prestes Maia 911" , das demnächst auch auf Deutsch im Kehrer Verlag Heidelberg publiziert wird, ist eine Fotoreihe, die sich mit einem Hochhausturm und seinen Bewohnern befasst:

Die Avenida Prestes Maia ist eine der größten Straßen Sao Paulos. Hier stehen zwei graue Wohnblocks - einst die angeblich modernsten Bauten Südamerikas, heute jedoch leer. 2002 wurden diese Häuser von 468 obdachlosen Familien besetzt. Heute leben noch etwa 250 Familien dort. Mehr Info hier.

Bittencourt porträtiert diese Bewohner an der Prestes Maia - allerdings dringt er nicht in ihren Wohnraum ein, sondern fotografiert sie von außen, wie sie am Fenster stehen.

Durch den streng formalen Aufbau der Bilder - zu sehen sind nur die Fenster in einem engen Ausschnitt umrahmt von kahler, grauschwarzer Betonwand - entwickelt sich eine ganz eigene Ästhetik. Es entsteht ein Spannungsfeld zwischen Architektur und Bewohnern, der Trostlosigkeit des Ambientes und der Heimat, die die Menschen allen Umständen zum Trotz hier gefunden haben.

Die Arbeiten wurden auch vom Politmagazin Cicero im Rahmen des Ausstellungsprojekts "Heimat 2008" in Berlin gezeigt ( Cicero-Galerie / Cicero-Galerie ).

Weitere Projekte von Julio Bittencourt auf seiner Website.