the instrument to see

!e choice of the name scopio for this maga(zine) is related directly to the word’s etymology – a Greek root meaning instrument to look through a hollow organ, thus being

connected to the act of observing and capturing light through the camera.

4

editorial

More than three years have passed since our fir! edition of scopio focused on Archite"ure was published and presented to the public in the city of Porto. #at was in O"ober 2010 and it is with great satis-fa"ion that I am now, three years later, writing this editorial for the third edition called scopio aboveground territory.

As the result of the e$ort and dedication of all involved in this publica-tion, we have managed to obtain very encouraging results and feed-back in these la! three years coming from diverse people and in!itu-tions. #e evidence of this is the intere! shared with scopio´s editorial team and collaborators by many other in!itutions, groups and peo-ple, as well as the inclusion of scopio in quite a few a"ions and events focused on common themes of concern belonging to the universe of photography and archite"ure.

#e Editorial Board of scopio is who has the main re%onsibility for curating the colle"ion of photography proje"s and articles relevant to the topical themes of each edition. #is means, besides other things, that we have been inviting diverse authors based on the relevance of their work to the main topics in discussion and asking collabora-tors, coming from di$erent areas of !udy, to create diverse content and invite other authors to develop further the concepts and ideas of those main topics. #us, in these pa! three years, scopio magazine has been able to define itself as an independent publication, initially in%ired in some way on the zines and bookzines, which has pursued until now with success an editorial !rategy able to integrate the dif-ferent per%e"ives of its collaborators within its editorial line.

5

SCOPIO !ance, defining its identity, is one that is intere!ed in a high level of critical analysis and focus dire"ed to the relations between archite"ural images and public imaginaries, as well as to the under-!anding of how di$erent types of images build diverse worlds: between fi"ion and documentary, reprodu"ion and manipulation, or analog and digital. One of the mo! important features di!inguishing scopio is its editorial approach encouraging the involvement of the academic, cultural and social se"ors, in conceptions and pra"ices that present an ability to broaden the way photography is used for under!anding and communicating diverse a%e"s related to Archi-te"ure, to the City and its public %aces and to the Territory transfor-mation, %ecifically in re%e" to how all of these %aces are perceived and lived in their multiple !rands.

#us scopio has already integrated and given support to two Inter-national Seminars focused on the debate and refle"ion about public %ace and archite"ural images – ON THE SURFACE 1 – and is also one of the alternative Portuguese publications present in the International exhibition of Archizines2, a showcase of new archite"ure fanzines, journals and magazines from around the world curated by Elias Red-!one. scopio has already collaborated with In!itutions as OARSN – Portuguese Archite"ure Chamber (RIBA equivalent) and is now also di!ributed by the editorial group of FAUP and referenced in its edito-rial platforms.3

1 www.nasuperficie.ccre-online.com2 www.archizines.com3 http://pda.arq.up.pt/plataformas.a%

6

#e previous editions of scopio magazine explore the concept of Aboveground through the pre-announced themes of archite!ure and city, which jointly with this issue of territory, close this cycle of three scopio aboveground magazine editions. #ese former editions will, nevertheless, con!itute the base for the fir! scopio book that will be called scopio aboveground: archite!ure, city and territory and that will be published in 2013 with a slightly di$erent format and lay-out, exploring more extensively the concept of Aboveground and of how it can be under!ood and read in the photography works of Filip Dujardin, Paulo Catrica and Xavier Ribas, all published on the se!ion Proje! of former magazine’s editions.

#e concept of aboveground approaches simultaneously two main ideas, being one the concept on the surface, associated very much to the photographic image and to the idea that it can be ju! a thin foil, which can trick the viewer with its illusion of extreme realism, and all the implications that go along with that thought. "e other being Archite!ure, integrating both the macro and micro levels – Architec-ture, City and Territory transformation – and being itself under!ood as a con!ru"ed %ace (above the ground), closely associated with the path and the movement necessarily on a any surface for the body to perceive the built environment.

7

#us, in scopio aboveground archite!ure, which was much focused on how archite"ure is experienced through imagination and real-ity, readers were allowed to travel between the worlds of fi"ion and documentary, reprodu"ion and manipulation, and analogue and digital. Notions of surface and its illusion of extreme realism, ideas approached by the concept of Aboveground, where addressed criti-cally, allowing to under!and better how these di$erent but related worlds are presented, e%ecially in our digital age. In particular, the work of Filip Dujardin “reading fi"ional !ru"ures through digital photography” proved that fi"ional buildings are capable of showing to us that archite"ure can also represent a private and independent universe belonging to an author that is capable of setting free his %atial imagination, critically exploring %atial solutions and advanc-ing archite"onic utopias.

#en, in scopio aboveground city, focused on the subje" of public %ace and city life, showing works that try to critically under!and and chara"erize the rich multi-faceted world that exi!s in the cit-ies, addresses, besides other issues, the notion of visibility and invis-ibility in the city’s archite"ure and public %aces, ideas also coming from to the concept Aboveground and that can be seen in the work of Paulo Catrica “the city is not a palimpse!: reading unmediated experiences”.

8

In scopio aboveground territory, which is dedicated to the Territory transformation conne"ed with land art or large-scale landscape archite"ure, as well as to regional or local planning, the concept of Aboveground is very much related with thinking about both notions of “Aboveground” (as landscape and surface) and of “Archite"ure”, “City” and “Territory” (as hi!orical process and ‘depth’).

We thought that one of the challenges for this edition could be to address, in some way, how political and economic power is control-ing %ace a$e"ing the built environment in %ecific ways as well as the lives of people and their culture. Working with the ideas of invis-ibility and appearance, photography images can be utilized to repre-sent “what is no longer there”, meaning gives depth to images and go beyond their appearance. We wanted works that explored creatively ways for using photography as an in!rument to confront our memo-ries of %ace, to reveal “unknown” realities and to present a critical vision of our territory environment.

#ese issues of invisibility are the foundation of Xavier Ribas work titled Invisible Stru!ures, published in the se"ion Proje". With his work, that relates very much with Robert Smithson’s notion of entropy and with Michel de Certeau’s idea of the ‘invisible identities of the visible’, we are confronted with an invisible evidence of a pre-Columbian Maya civilization buried in the Petén rainfore! and, even though the proje" is making reference to a hi!orical time, the images do not have an “indexical” fun"ion, but evoke those sacred %aces through subtle invisible traces. #e absence of images portraying the archeological site appearance and going beyond their outer shell, !ill buried in that rainfore!, makes their presence even more sacred and meaningful.

9

It is important to refer, in this ending of scopio magazine aboveground cycle and the beginning of a new one, that digital technology is per-ceived by scopio in a creative way and as a tool to create synergies and e!ablish bridges with the analogue universe and not to replace it. Accordingly, the magazine is now also present in iPad4, alongside with its o&cial website and social network. Within this context and beliefs, we intend, in the near future, to create an International Network called scopio network, linking diverse Universities, Art schools, Pra"itioners, Museums, Galleries and Archives internationally.

#is network would naturally be articulated with exi!ent conta" net-works – such as the International Seminar On the Surface – and diverse platforms built or under con!ru"ion by our research group – CCRE. In this way we will be making possible and easier to exchange ideas and diverse content related with photography image and Archite"ure through a collaborative platform on the Internet, but also promoting face-to-face reunions through diverse a"ions, following the same belief that the digital universe can complement and enrich the face to face experience but not replace it. We are thinking that this network and collaborative platforms would support several forum and edito-rial initiatives, multimedia models, ideas competitions and workshops related with our research agendas. All these will be the in!ruments used to single out, discuss and communicate the proje"ion of all the di$erent proje"s and diverse content related with photography image and Archite"ure.

4 (https://itunes.apple.com/pt/book/scopio/id576406465?mt=11)

10

SCOPIO also intends, in the near future, to cross the Atlantic and be present in Brazil and USA, but for now it can be found only in Europe at %ecific bookshops related to Photography or to Archite"ure, City and Territory as, ju! to mention ju! a few, the aefaup bookshop (FAUP) in Porto, the Inc.livros e edições de autor in Porto, the A+A bookshop in Lisbon, the STET – livros & fotografias in Lisbon, the AA bookshop in London and the Riba bookshop in Portland, London.

Finally, it’s worth mentioning that we are going to make simultane-ously to this normal edition of scopio aboveground territory, a %e-cial limited edition of a 100, comprising the three numbers of scopio aboveground in a %ecific card-board package, with a %ecial price.

11

sections

Proje!For the third issue aboveground territory we have invited Xavier Ribas, a Catalan photographer trained as an anthropologi!, with pro-fessional experience in the fields of urban planning and archite"ure. His proje"s and research create a significant body of work related to the notions of place, memory, the city and the unbuilt environment. Invisible Stru!ures is a photographic proje" which focuses on our perception of “buried landscapes and cultures”, o$ering us a new documentary-fi"ion mediation of those archaeological cities. Barce-lona Pi!ures explores the relationship between centre and periphery, as well as the residual %aces with unpredi"able pra"ices.

Limited EditionCarlos Lobo is a Portuguese international photographer who is cur-rently teaching photography at Catholic University of Portugal - Porto [Universidade Catolica do Porto] (since 2008). He is also engaged in CAAA (Guimarães) as a photography curator and in LEBOP as a book publisher. Carlos Lobo is the invited author who has agreed to col-laborate with our third issue aboveground territory, allowing one of his fine art photographic images to be sold in this limited edition. #is photographic image is coming from the Arti! book called “BERLIM” that will be soon published by LEBOP, which can be acquired by the exclusive price of 200 Euros.

12

ReadingÁlvaro Domingues, a geographer with professional experience in the fields of urban planning and Associate Professor at the Faculty of Archite"ure of the University of Porto (FAUP), is the invited author in charge of the article Territory. #is critical text is an original analysis of the mapping of the territory throughout di$erent age %ans and of the significant ideological and political di$erences found in them – from the pre-hi!oric fascinating cartography to today’s sophis-ticated GIS models. #e text reveals, among other things, that any mapping of the world is simultaneously a relation between an ideol-ogy and an invisible social world, as well as a set of visible and quanti-fied phenomena.

PathsDuarte Belo, the invited author for this se"ion, is a photographer who has graduated in Archite"ure in 1991 and his work has often been exhibited individually and he is represented in many private and pub-lic colle"ions, in Portugal and abroad. His proje" – Iterative Places – consi!s of two photography series: Monte Abraão, a Lisbon sub-urb, and Gerês, an uninhabited and mountainous place located in the northwe! region of Portugal. #ese series can be under!ood as the representation of amazement and bewilderment when faced with an endless ever-changing walk which alters everything along its path.

Visual ChronicleFrançois Penz is a published author from the Department of Architec-ture – University of Cambridge, where he is Reader in Archite!ure and the Moving Image and Dire"or of the Digital Studio for Research in Design, Visualisation and Communication. #e work Immaterial Lieux de Mémoire is a concise and very motivating text, analysing two

13

images that capture a crucial moment in the development of po!-war Paris. #ese images – one, a con!ru"ion view of the Boulevard Périphérique in Paris, from Godard’s Deux ou trois choses que je sais d’elle (1967); the other, showing the rise of Le Quartier de La Défense in Courbevoie, taken from Granier-Deferre Le Chat (1971) –, confirm the power of photography and cinematography to document and re!ore pa! events. François Penz also explains how both films are agents and produ"s of hi!ory within the geographical and hi!orical context of po!-war France.

Contra"Susana Paiva is the invited author for this se"ion, in addition to being the editor of FLÂNERIE and the photographer who coordinates the PORTFOLIO PROJECT – an educational platform that works as an online exchange place where photographers can have their work pub-lished, promoted and seen by other professionals, as well as develop proje"s together. Susana Paiva´s critical dige! Sweet sorrow balad clarifies and contextualizes Bruno Pires´s work, a dramatic portrait of one of the mo! famous touri! landscapes of Portugal: the Algarve.

Disambiguation#e invited author for this se"ion, dire"ed by Né Santelmo, is Andreas Müller-Pohle, a Berlin-based media arti! and the publisher and editor of European Photography, the international art magazine for contemporary photography and new media. Always looking for a challenging new proje", Andreas Müller-Pohle’s photography series, from his work Hong Kong Waters, is a fascinating singular impres-sion of Asia’s mega-metropolis Hong Kong, exploring both its vertical urbanity and horizontal conformity to the water.

14

Close-upSusana Ventura is re%onsible for Close-up, a se"ion that is !ruc-tured around an interview with a photographer known for his or her images of works of archite"ure, cities, !range and di!ant places and visual matters of expression. #e interview is always a chang-ing conversation about di$erent ways to look upon reality through images. For this third issue aboveground territory Susana presents us with a very intere!ing dialogue with Bas Princen: an internationally acclaimed arti! and photographer known for his work focused on the transformations of the urban landscape. Susana seeks to under!and the work of Bas, exploring and que!ioning him on such challenging issues as how can we learn about the growth of the contemporary city through photography, asking if photography can report a change in growth (city or countryside), which has not yet occurred, changing the very notion of time. Finally, Bas’s idea of “depi"” is looked at, try-ing to under!and it as the proposal of a new meanings in archite"ure arising between the series of images, including photographs.

Curator#is se"ion promotes an analysis and debate on curatorship in Archi-te"ure and Art, exploring the work of diverse arti!s, and refle"ing about the importance of alternative exhibition places in contemporary art and their potential for (re)defining city´s non-%aces. In this issue, Miguel Pinho, who is currently re%onsible for Curator, writes a short critical essay on public art and how the nature of contemporary art has changed its meaning and exhibition paradigms. #e work of two authors in public art are presented and discussed. Miguel Carneiro, with !encil proje" COSPE AQUI [SPIT HERE], which sub!antiates an evocative cultural provocation and Pelucas Martin, whose graphic accuracy and imaginary work reveals sometimes significant links to archite"ural details.

15

ViewfinderIt announces the winner and the honorable mentions of the international photography conte! aboveground territory, organized by scopio magazine and CCRE. For this conte!, the jury has invited the photographer Filip Dujardin, who has written the Text on pho-toseries of Boaz Aharonovitch, introducing the photographer Boaz Aharonovitch’s winning proje". It is a body of work composed by a powerful series of three photographs where the ideas are signifi-cantly intertwined with the formal con!ru"ion of the images. #e fi"ion of linking the pa! and the present adds an extra dimension to this series, reinforced by its political meaning, which enhances its context. It is a work that recalls the war and makes it “virtually real”, making us (re)think about what can happen again and about the rela-tions between Germany and other countries. “Terrain Vague” from João Margalha and “Edgelands” from Dara McGrath were nominated honorable mention exaequo.

Flash#is cultural agenda intends to advertise a series of significant events related to photography that will take place in the city, in the country or at international level. In this issue, we announce the exhibition "e Place We Live, a Retro#e!ive Sele!ion of Photographs by Robert Adams, di%layed at Reina Sofia Museum in Madrid until May 20, 2013. #is sele"ion leads viewers through the main proje"s undertaken by the north american photographer. We also present Le Corbusier – An Atlas of Modern Landscape, an exhibition encompassing Charles-Édouard Jeanneret work as archite", interior designer, arti!, city planner, writer and photographer. #e exhibition will take place later this year at MoMA, New York, from June 9, until September 23, 2013.

COLOPHON

PublisherCityscópio – Associação Cultural Rua da Cidreira 291, 4465-076 Porto (Matosinhos), Portugalinfo@cityscopio.comwww.cityscopio.com

EditorCCRE – Centro de Comunicação e Representação E!acialFaculdade de Arquite"ura da Universidade do PortoVia Panorâmica S/N, 4150-755Porto, Portugalccre.arq.up@gmail.comtel: +351 226057100fax: +351 226057199

Dire!orPedro Leão Netopedro.neto@cityscopio.com+351 964040521

Assi"ant Dire!orTiago Casanovatiago.casanova@cityscopio.com+351 912477744

Design Dire!orNé Santelmone.santelmo@cityscopio.com

Print and Web DesignPaulo Fonseca

Layout and epubJosé Teixeira

Conte" Dire!orFrederico Soaresfrederico.campo@cityscopio.com

Produ!ion Manager Dire!orBruno Moreirabruno.moreira@cityscopio.com

Sales and Marketing Dire!orCri!ina Assiscri!ina.assis@cityscopio.com

CollaboratorsMiguel PinhoSusana Ventura

Invited AuthorsXavier RibasBas PrincenCarlos LoboÁlvaro DominguesDuarte BeloFrançois PenzSusana PaivaBruno Filipe PiresAndreas Müller-PohleMiguel CarneiroPelucas MartinFilip DujardinBoaz AharonovitchJoão MargalhaDara McGrath

Scientific CommitteeÁlvaro DominguesManuel Fernandes de SáPedro Gadanho

TranslationLuís Filipe Co!a

PrintingGreca Artes Gráficas

Periodicity/CirculationAnnual/ 500 Copies

scopio magazine also thanks and acknowledges all the support it has received fromFCT, UP, FAUP, CEAU, CCRE, E%aço F-FAUP

CoverXavier RibasNr 19 from series

“Barcelona Pi"ures”

All rights reserved. No part of this publication may be reproduced, copied or transmitted in any form or by any means or !ored in any information !orage or retrieval sy!em without the editor’s written permission. All photographs featured in scopio Magazine are © of the photographers.

ISSN 1647-8266 Dep. Legal N.º 316944/10 April 2013.

Legal

INDEX

Proje" – Xavier Ribas

Critic by Pedro Leão Neto

Invisible $ru!ures: representing a memory that

hasn’t yet been imagined

18

Limited Edition – Carlos Lobo

Berlim

50

Reading – Álvaro Domingues

Territory

52

Paths – Duarte Belo

Iterative places

64

Visual Chronicle – François Penz

Immaterial lieux de mémoire

78

Contra# – Bruno Filipe Pires

Contra$ by Susana Paiva

Sweet sorrow ballad

82

Disambiguation – Andreas Müller-Pohle

Disambiguation by Né Santelmo

Hong Kong Waters

90

Close-up – Bas Princen

Close-up by Susana Ventura

Depi!, depi!, depi!ing

98

Curator – Miguel Pinho

Invited authors: Miguel Carneiro and

Pelucas Martin

Public art

130

Viewfinder

Seen by Filip Dujardin

1ST Prize

Boaz Aharonovitch | Germany 1945-2008

Honorable Mentions (Ex aequo)

Dara McGrath | Edgelands

João Margalha | Terrain Vague

144

Flash

154

X-Ray

158

PROJECT

XAVIER RIBAS

invisible structures: representing a memory that hasn’t yet been imaginedCritic by Pedro Leão Neto

XAVIER RIBAS19 Untitled photographs from series “Invisible Structures”, 2006-2008

120 x 155 cm, C-Type Prints

40

PROJECT

XAVIER RIBAS

Xavier Ribas !udied Social Anthropology at the University of Barcelona (1990) and Docu-mentary Photography at the Newport School of Art and Design (1993) and the author’s social awareness and background in these fields of !udy is well patent in his extended work covering several territories and places. His photographic proje"s also operate as both document and fi"ion, showing how an arti!ic approach can play an important role when analysing the modernity and contem-porary transformation of the territory1.

Ribas, by integrating into the photographic representations of his proje"s diverse con-cepts and ideas coming from philosophy, art

1 Gabriela Vaz Pinheiro, 2010, “#e Deception of images in SCOPIO “Contra!: Michelle Domingos + Patrícia Azevedo Santos” p.78–79 ”#rough age-old tradition, photography has a&rmed itself as an autonomous subje" field and pra"ice. By an even older resi!ance, the arti!ic proje" has been using it as a processual helping tool for supporting observation, for cataloguing the capture of fleeting moments that memory will betray and drawing will not succeed to immobilize.” ”It is therefore demon-!rated that the deception of images often serves them as a lever for meaning and that the evidence of the arti!ic process may very well move from its sensitive operability to a new domain in its own right, as a marker of significance and poetics.”

and sociology2 is able to create powerful land-scape series where art and obje"ivity com-bine to address two ways of looking towards our contemporary territory. As Lluís Sabadell Artiga has written, “In terms of our way of looking, the meeting between modernity and landscape has generated residual %aces where our way of looking diverges in two opposed paths: indi$erence and admiration.” (Artiga, 2007). Ribas work covers the sec-ond path making us re-examine the diverse “invisibilities” of our territories.

His work is very representative of how politi-cal and economic power can control %ace a$e"ing the built environment in %ecific ways, as well as the lives of people and their culture. Working with the ideas of invis-ibility and appearance, photography images are utilized to represent “what is no longer there”, meaning that the images gain a depth that go beyond their appearance. Within this context, scopio aboveground territory,

2 “In a wider context the work is about the rela-tionship of man and territory, engaging with the notion of the produ"ion of %ace (Henry Lefebvre), the experience of the landscape from the per%ec-tive of the everyday (Michel de Certeau), and the notion of anthropological place (Marc Augé). #ere-fore, the work intends to dialogue with the disci-plines of urban !udies, social anthropology and archaeology.” (Ribas, 2005)

XAVIER RIBASUntitled from series "Barcelona Pictures", Football, 1997120 x 155 cm, C-type print

50

LIMITED EDITION

CARLOS LOBO

berlim#is photograph is part of a body of work about Berlin and the image was obtained with a 35 mm camera. #e image is part of a photographic series in Carlos Lobo´s arti! book with the title "BERLIM" yet to edit.

TITLE: “Untitled”

ARTIST: Carlos Lobo

YEAR: 2008

EDITION: 1/20 (Certificate hand-signed by the author)

PRICE: 200 Euros

PROCESS: Color Lambda Print/24 x 30 cm

HOW TO BUY IT: www.scopiomagazine.com or send email to shop@cityscopio.com

ÁLVARO DOMINGUES

READING

territory

Composite Petroglyph Map From Bedolina, Valcamonica. (North Italy) !e earlier figures and later additions have been removed to reveal a complex topographical map. Size of the original: 2.30 x 4.16 m. [p.79] in Harley, J.B. (1932-1991)/Woodward, David (1942-) -!e history of cartography vol.1; http://imaginarymuseum.org/MHV/PZImhv/HarleyCartographyV1.html

DUARTE BELO

PATHS

DUARTE BELO 9 untitled photographs from series "Monte Abraão",

Sintra - Portugal, 1990120 mm Black & White film, 6 x 6

Iterative places#e photographs of Monte Abraão, a Lisbon suburb, were taken in 1990, in the early !age of an experimental work on photographic surveys of the landscape. #e photographs of Gerês, from 2012, are part of that ongoing search for the representation of %ace through photogra-phy, which !arted in the mid-80s of the twentieth century. #e Serra do Gerês, an uninhab-ited mountain range, raises several que!ions about the human relationship with %ace, that is, about the skin of a planet which allowed for the evolution of a %ecies that increasingly created its own places, that creates its own living %ace by keeping its di!ance from an often ho!ile Nature.

#ese two sets of photographs are sites of wonder and bewilderment in a continuous walk, in a long and ever-changing time, which alters everything along its path. #is could be the por-trait, the elusive framing of a higher !ru"ure, the impossible margin of obje"ifying a moun-tain. #ese are cases when photography wants to be a labyrinth, a virtually real archite"ure because it represents tangible entities, it recreates reading obje"s, interpretations, vacant places or imaginary %aces we may find inside a book or in an enormous photo archive, where one can e!ablish an endless and complex network of conne"ions between the realities which are represented. Iterative places are endless comebacks; they are the twi!s and turns of a human life, the losses, the rediscoveries, the breathing of the earth, when to it we join our own.

78

FRANÇOIS PENZ

VISUAL CHRONICLE

immaterial lieux de mémoireFour years and three kilometers separate the two images. #e fir! one, from Godard’s Deux ou trois choses que je sais d’elle (1967), is a con!ru"ion view of the boulevard périphérique in Paris. #e second one is taken from Granier-Deferre Le Chat (1971). It shows the rise of Le Quartier de La Défense in Courbevoie, We! of Paris, ju! outside the newly built boule-vard périphérique. One follows the other as La Défense is the logical consequence of the périphérique.

Both images capture a crucial moment in the development of po!war Paris. #is is the power of photography and cinematography to document and re!itute pa! events. Godard and Granier-Deferre’s camera culled the landscape and the ‘data’ colle"ed is a formidable source of archive material. #is is e%ecially true in the case of those two film-makers. As !ated by Godard ‘A film is out of date when it doesn’t give a true pi"ure of the era it was made in’ before adding, ‘All of my films report on the situation of the country, are documents d’a"ualité’.

Of course the film dire"or is the mediator and the interpreter of a reality. It is hard to believe in the notion of obje"ivity to render a ‘true pi"ure of the era’. #ey have to choose what to frame and therefore to exclude. In the case the périphérique it is very unlikely that one would ever see a motorway in con!ru"ion in this way or that one would even notice it. So the fir! thing Godard did was to frame the world. He then gave it a duration and then at some point the film would cut to a new scene – in that sense it is very di$erent from the same image as a !ill photograph that can be looked at for one second or for an hour. And so for a few seconds we are in ‘real time’ while with !ill photography there is no such a thing as ‘real time’.

#e Godard sequence is a time-image by excellence, with a supreme photography that not only documents and informs but also reveals. Prompted by Godard’s own soft voice-over, it creates a di!ance with the pure image. And so our imagination hangs, caught between the words and the image, between the ‘poetic realism’ of the cinematography and the dream e$e" of God-ard’s sugge!ive voice. And yet the image has its own integrity belonging to an ae!hetic of ordinariness, of everyday life. It is a seemingly simple scene; the camera is !atic, !anding on

RAOUL COUTARDUntitled frame from the feature film "Deux ou trois choses que je sais d'elle"Directed by Jean-Luc Godard, 1967

82

CONTRAST

BRUNO FILIPE PIRES

sweet sorrow balladContrast by Susana Paiva

#ere’s no place for beauty in contemporary art, says the photographer.

Old billboards, pro!itutes, political propa-ganda, ruins and chaos are perfe" ingredi-ents for an avid camera, committed to con-!ru" a dramatic portrait of one of the mo! touri!ic portuguese landscapes. At lea! that is how Bruno Pires sees and regi!ers, week after week, his di%lacement around Algarve, while driving from Faro to Portimão.

Crossing EN125, a national road – once one of Algarve’s main axes – , Bruno captures disruption on daily life. His images are made with the voracity of a globetrotter and a blink of an eye to Elliot Erwitt’s humorous

work. #e mainly que!ion is that, normally Bruno’s dogs are bigger, don’t bark and are made of pla!ic.

I remember Bruno’s excitement when he found out Tibi, the yellow giant dog, advertis-ing a pet food’s outlet on EN125. #at’s only one of his late! “de!rochos” – a neologism he created to describe some odd or deca-dent situation in the landscape.

His images, no matter if a surprising bumper cemetery or a huge billboard announcing

“an oasis of horror in a desert of boredom” create a reasonable doubt about creation circum!ances.

9090

DISAMBIGUATION

NÉ SANTELMO

hong kong waters

Invited author: Andreas Müller-Pohle

Two dimensions define the image of Asia’s mega-metropolis Hong Kong: its vertical urbanity and its horizontal conformity to the water. No other city in the world has a larger number of high-rises (1224 buildings over 100 meters; by comparison: New York has 574 skyscrapers) or a higher population density than Hong Kong (7 million residents live in a built area of no more than 100 square miles). Due to a dramatic lack of buildable land between the mountains and the waterfront, a hyper-dense archite"ure has emerged since the 1970s with ever closer and higher !ru"ures. In !riking contra! !ands Hong Kong’s varied water landscape – an area with more than 700 kilometers of coa!line, almo! 260 islands, numerous harbours, bays and rivers, clear-water reservoirs and waterfalls.

Hong Kong Waters, a multimedia proje" comprising photography, video and sound, brings these two dimensions of Hong Kong together: its vertical urbanity and its horizontal alignment to the water. “#e photographs take the viewer on an aquatic journey along the coa! of Hong Kong and o$er fascinating impressions of its diversified landscapes. With sophi!icated skills and a keen sensibility, Müller-Pohle manages to show the complex personalities of this sea-side city, and leads the viewer from the dense, concrete fore! of the high-rises of Central, across the exotic Hollywood seascape of Aberdeen, to the wilderness of the remote islands unknown to mo!” (Oscar Ho). It will be published by Asia One Books, Hong Kong, and Kehrer Verlag, Heidelberg, in Spring 2013.

ANDREAS MÜLLER!POHLEKowloon – From a Boat in Kowloon Bay, 2009

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CLOSE!UP

BAS PRINCEN

We may learn how cities and landscapes are changing and always evolving through time by visiting, and seeing with our bare eyes, the changes and even trying to participate in those developments, and be part of them. Nevertheless, we are hereinafter introduced to another important way of under!anding the contemporary city, the artificial land-scape and the reality between limits, borders and human occupation. #is is an extremely rare exercise around the contemporary city: why don’t we try to under!and its continu-ous growth and changes by simply looking at a photograph? Can a photograph tell us more than an a"ual visit to the place? And is it pos-sible for a photograph to be at the edge of a !ill yet to happen change, altering the very notion of time in the %ace of the photograph itself? #e photograph is no longer related to a memory or a frozen time, but it seems to reveal an undetermined time yet to come

on the edge of an always-di$erent city and unknown landscape. #e resonances are also important here: between places and between matters. Says Bas Princen that the !ory appears between images or photographs independently of the places or of the time where and when they were shot, giving us the possibility to draw our own map of the world within a series of images. #erefore, the idea of depi" and depi"ing can’t be under!ood as a truthful and obje"ive rep-resentation of reality (and Bas’ preference for depi"ing unveils already his dire"ion away from photography as document) neither as it can be simply under!ood as in painting or sculpture, where the representation has already imbued the traces of expression of its ma!er, but by adding to its signification a surplus meaning: within a series of images, in between photographs that combine things in the world that tell us a di$erent !ory about it.

depict, depict, depictingClose-up by Susana Ventura

BAS PRINCENMine (Orogenic Deposit), 2010150 x 185 cm, Framed c-print

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BAS PRINCEN

INTERVIEW WITH BAS PRINCEN

We present an informal exchange of ideas about Bas Princen’s photographs resulting from several conversations. It is divided into three chapters: a fir! about desire or what makes an image come into being, a second dedicated to composition or about the photographs as autonomous lived %aces and works of art and then a third and la! chapter about the in!ru-ments and the techniques as modes of conne"ion between the photographer, the camera, the reality and the real that the photograph creates and presents.

FIRST CHAPTER: DESIRE

SUSANA VENTURA: A fir! and basic ques-tion: your main education is in archite"ure (you’ve graduated from the Berlage In!itute in Rotterdam), but your main occupation is photography and archite"ural photography in particular. What drove you into photogra-phy and how did archite"ure play a role?

BAS PRINCEN: To me it’s not about docu-ment at all. It’s about something completely di%erent even though things might look very $raightforward that I photograph or very banal how they are photographed, that’s not the intention…

SV: So, what drove you into photography or when did you decided to become a photog-rapher in!ead of an archite"?

BAS: You don’t decide it. "is is the funny thing, of course. "at’s something that happens. But you could say that there were some ingredi-ents that made it happen. When I was $udy-ing at "e Design Academy at the time I was there it was called Academy for Indu$rial Design, I was there or I went there in order to $art to design things – well, that was the intention…

SV: But you are !ill designing things…

BAS: Not really, not anymore, but for in$ance, when I am teaching, I am teaching architec-ture, and not photography, so there is quite a lot… I know quite a lot about it, I follow it up, I know what is going on in the world of design and archite!ure – more in archite!ure than in design – and somehow I use that in my photography, but I don’t pra!ice anymore.

BAS PRINCENSection (Petra), 2012153 x 190 cm, Framed c-print

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MIGUEL PINHO

CURATOR

“PUBLIC ART is a broad term which refers to artworks in any MEDIA created for and sited either temporarily or permanently in public places. Public places are generally associated with external %aces; however, artworks can be situated outside in private %aces, such as shopping malls and private housing developments, or inside in public %aces, such as publicly-funded ART MUSE-UMS and GALLERIES or ho%itals and librar-ies. Consequently a definition of what con-!itutes public %ace is problematic”.'

In 2001, David Hickey( brought together the work of twenty-nine arti!s at SITE (Santa Fe International Biennial) in an impressive in!al-lation created by Graft Derin. Several kinds

1 http://www.imma.ie/en/downloads/publicart.pdf2 North-American Art critic. Author of !e Invisible Dragon: Four Essays on Beauty and Air Guitar, Essays on Art and Democracy. Professor of Art !eory and Criticism at the University of Las Vegas.

of works were presented in that in!allation, which significantly turned the museum into a large “Archite"ural Frame”. #is event at SITE proved that the in!allation of an exhibit may adopt di$erent !rategies and configurations and that, more often than not, it is the art-work’s %atial configuration and location itself that will create a new %ace. In this case, the result is an impressive “Archite"ural Frame”, with a non-traditional configuration, where the placement of the works reinforces the innovative %atial chara"er of the museum.

Like the arti!s in the seventies, who felt the need to create their own %aces to experi-ment with new languages and to answer the excessive “in!itutionalization” of conven-tional %aces such as museums and galleries, public art also tried to find an answer for the traditional classical monumentality. It is impor-tant to clarify what public art means; the defi-nition is controversial and not easy to e!ablish

public artInvited authors: Miguel Carneiro and Pelucas Martin

MIGUEL CARNEIROCospe aqui, Porto – Portugal, 2009

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1ST PRIZE | BOAZ AHARONOVITCH

VIEWFINDER

As an arti! it is always a challenge to combine content with a visual expression.

In this series of three photos the conceptual premises fall perfe"ly together with the formal con!ru"ion of the images. #e arti! used the modern technique of digital imagery in an intel-ligent way to unify two moments and places in one ge!ure.

What seems on fir! sight not possible to assemble, the arti! succeeds to con!ru" a power-ful image where several a%e"s of time, %ace, hi!ory and politics are intertwined.

For me personally it reminds me of the ruins of bombed German cities that were rebuild after the war with the debris mixed with new material. #e result is often an intriguing new building dotted with black smoked old elements.

As the arti! mentioned, pa! and present, here and there are blended in a black and white ae!hetic, with a graphical and almo! ab!ra" e$e". It pushes the whole con!ru"ion from a %ecific nature to a more universal meaning.

#e tension between the ‘dramatic’ context and the formal or di!ant approach is di!urbing but intere!ing and avoids a too sentimental or anecdotal view on this subje"; though these fi"ions invite the public to que!ion the reality of the image or the image of reality.

germany 1945-2008Seen by Filip Dujardin

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1ST PRIZE

Boaz AharonovitchGermany 1945–2008

HONORABLE MENTION

João MargalhaTerrain Vague

Dara McGrathEdgelands

JURY

Filip DujardinPedro Leão NetoTiago CasanovaFrederico Soares

VIEWFINDER

1ST PRIZE | BOAZ AHARONOVITCH

A US Air force navigator during World War II photographs a bomb falling from his plane onto a populated area. I took single snapshot, this “decisive moment”, and !retched it into an imagi-nary continuum. Germany of the 1940s is conflated with images of contemporary Germany taken in 2007. #e bomb falls, smoke covers the city. Hi!orical documentation is transformed into fi"ion. Yet perhaps this fi"ional dimension was there from the very beginning, for the original photograph was already rooted in a form of hi!orical fi"ion, in a false narrative of oth-erness that juxtaposed “here” and “there”, “now” and “then”, “us” and “them”. In this work, these dichotomies begin to dissolve. “#en” and “now” are fused. #e image of the bomb hit-ting a populated area becomes an image of all bombs – pa!, present and future. #e image of di!ra"ion is an image of all di!ra"ion. And facing this di!ra"ion is a de%erate attempt to overcome the camera’s inability to simultaneously hold “then” and “now”, its failure to capture the recurrent pattern, the hi!orical dimension, and the “human condition”.

synopsisGermany 1945-2008

BOAZ AHARONOVITCH3 untitled photograhs from series "Germany 1945-2008", Triptych, 2008

"e work assembles archival material from the bombing of the American air forces on German civilians at the end of World War II, with current digital

footage that I took when flying over Germany in 2007

FLASH

LE CORBUSIER #CHARLES!EDOUARD JEANNERET$Model of the superstructure showing the surrounding country. Marseille

Black and white photograph, 10 x 18 cmFondation Le Corbusier, Paris. © 2012 Artists Rights Society

(ARS), New York / ADAGP, Paris / FLC

le corbusieran atlas of modern landscapes

For the fir! time in its hi!ory, MoMA pre-sents a major exhibition on the work of Le Corbusier (Charles-Édouard Jeanneret, 1887–1965), encompassing his work as archite", interior designer, arti!, city plan-ner, writer, and photographer. Le Corbusier: An Atlas of Modern Landscapes will reveal the ways in which Le Corbusier observed and imagined landscapes throughout his career, using all the arti!ic techniques at his disposal, from his early watercolors of Italy, Greece, and Turkey, to his sketches of India, and from the photographs of his formative journeys to the models of his large-scale

projects. His paintings and drawings also incorporate many views of sites and cities. All of these dimensions will be present in what will be the large! exhibition ever pro-duced in New York of his prodigious oeuvre. #e exhibition is organized by gue! curator Jean-Louis Cohen with Barry Bergdoll, #e Philip Johnson Chief Curator of Archite"ure and Design.

June 09 – September 23, 2013MoMA – Museum of Modern Art, New Yorkwww.moma.org

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X!RAY

Álvaro Domingues (Melgaço, Portugal, 1959) holds a PhD on Human Geography (Faculty of Fine Arts of the University of Porto, 1994). He is a geographer and a Professor at the Faculty of Archite"ure of the University of Porto. He is also a researcher at CEAU/FAUP, where his a"ivity focuses on Human Geography, Landscape, Urbanism and Urban Politics. He is the author of several books and arti-cles, including A Rua da E$rada and Vida no Campo, both published by Dafne Editora.www.alvarodomingues.net

Andreas Müller-Pohle (Braunschweig, Germany, 1951) !udied Economics (University of Hannover) and Communications (University of Göttingen). He is a Berlin-based media arti! and the publisher and editor of European Photography, an international art maga-zine for contemporary photography and new media. In 2001 he was awarded the European Photography Prize of the Reind M. De Vries Foundation. From 1997 to 2004 he was a Visiting Professor at the Higher In!itute for Fine Arts, Antwerp, Belgium. Müller-Pohle has exhibited and worked on photography and media proje"s in Europe, America and Asia.www.muellerpohle.net

Bas Princen (Zeeland, Netherlands, 1975) !udied Public Space Design (AIVE – Design Academy Eindhoven, 1998) and Archite"ure (Po!graduate Berlage In!itute, Rotterdam, 2002). He is an arti! and photographer and his work focuses on the transformations of the urban land-scape, researching the possible future scenarios and outcomes by the use of photography. He has won many awards, such as the Charlotte K)hler Prize in 2004, and the Silver Lion, together with O&ce KGDVS, at the Venice Biennale, in 2010.

Boaz Aharonovitch (Jerusalem, Israel, 1970) holds a degree in Photography (Department of Photography, Bezalel Academy, Jerusalem, 2002) and an MA in Fine Arts (Bezalel Academy of Arts and Design, 2005). He has been exhibiting his work in individual and group shows since 2002. He has won several awards, such as #e Young Arti! Award 2005, from the Israeli Mini!ry of Education and Culture, and the Sharett Scholarship (in 2002 and 2004) from the America – Israel Cultural Foundation.www.boazaha.com

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Bruno Moreira (Porto, Portugal, 1982) is a graduate and MSc archite" (Faculty of Archite"ure of the University of Porto) and PhD !udent in the same in!itution, devel-oping a research on the relation between planning in!ruments' flexibility and e&cacy on regulating the di%ersion of contem-porary urban %ace. He is a researcher in CCRE – focused on ICT and WWW for com-municating and representing archite"ure and city %aces, and member of cityscopio cultural association with intere! on the use of photography for the same purpose. www.brunomoreira.net

Bruno Filipe Pires (Setúbal, Portugal, 1975) !udied Modern Languages and Literature at the University of Algarve. He planned to be a teacher, but thought twice and grabbed the opportunity to begin working in the regional press. He is currently a journali! and editor of the trilingual weekly new%a-per Algarve 123. In addition to his journali!ic work, he is intere!ed in exploring photog-raphy in order to think about the territory and, ultimately, about ourselves as a collec-tive whole. He is intere!ed in the everyday things around us. www.littlekabul.blog%ot.pt

Carlos Lobo (Guimarães, Portugal, 1974) holds a degree in Portuguese and English languages (Universidade de Aveiro, 1997), a BA in Communication Technologies (In!ituto Politécnico do Porto) and an MA in Visual Communications (Goldsmiths College, University of London). He is cur-rently participating in the Photography Programme “Programa Criatividade e Criação Artí!ica” granted by Fundação Calou!e Gulbenkian in Lisbon.www.carloslobo.net

Duarte Belo (Lisboa, Portugal, 1968) holds a degree in Architecture (FAUP, 1991). In addition to his early work in Architecture, he has been developing projects in Photography. He exhibits individually since 1989 and has already participated in several individual exhibitions. He is represented in several private and public collections, in Portugal and abroad. He has already been a teacher and he regularly participates in seminars, conferences and roundtables. His extensive documentary work focuses on the photographic survey of the landscape and the forms of occupa-tion of the territory. www.duartebelo.com

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Filip Dujardin (Ghent, Belgium, 1971) is an Art Hi!orian (University of Ghent) %e-cialized in Archite"ure and Photography (Academy of Ghent). He was technical assi!ant of Magnum-Photographer Carl De Keyzer and collaborated with Frederik Vercruysse. He has published his work in national and international books and mag-azines, and has participated in several indi-vidual and group exhibitions since 2007.www.filipdujardin.be

François Penz, an archite" by training, teaches in the Faculty of Archite"ure and Hi!ory of Art at the University of Cambridge, where he is a Professor in Archite"ure and the Moving Image. He co-founded Cambridge University Moving Image Studio and more recently the Digital Studio for Research in Design, Visualisation and Communication, where he runs the PhD programme. He also con-tributes to the interdisciplinary University wide MPhil in Screen Media and Cultures. He is a fellow of Darwin College, and a founder-dire"or of ScreenSpace.

Frederico Soares Campos (Porto, Portugal, 1988) !udies archite"ure since 2006 at the Faculty of Archite"ure of the University of Porto (FAUP). He has been collaborat-ing with CCRE since 2007, and with CFM – “Comunicação, Fotografia e Multimédia” [“Communication, Photography and Multimedia”] at FAUP, since 2010. In 2008 he received a BII – “Bolsa de Integração na Inve!igação” [“Scholarship for the Integration in Research”], and in 2008-2009 he participated in the “Lidera” proj-e" “Laboratório de Imagem” [“Image Laboratory”], organized by the University of Porto. www.fredericodraw.tumblr.com

Miguel Carneiro (Porto, Portugal, 1980) was a founder member of the proje" PêssegoPráSemana (2001–2007). He has participated in and organized sev-eral colle"ive exhibitions. He is part of the team re%onsible for the publication of the fanzines Ex-Man and Bom-Apetite. He has created, in 2004, together with Marco Mendes, the editorial and arti!ic collec-tive A Mula. He taught at the BA course in Comics and Illu!ration in ESAP-Guimarães

161

from 2006 to 2009. He trained at the pub-lishing house Le Dernier Cri (Marseille) in 2009. He is a co-founder of Oficina Arara —arena d’artes gráficas e outros movimentos inconclusivos and of the lampoon Buraco.

Miguel Pinho (Viana do Ca!elo, Portugal, 1966) is a civil engineer (FEUP, 1992), and an arti! (ESAP, 2008). He is preparing his MA thesis in Arti!ic Studies at the Faculty of Fine Arts of the University of Porto. He is also producer and a curator since 2008 in E#aço Campanhã & Tabacaria Gallery, in Porto.

Né Santelmo (Vila Real, Portugal, 1958) is a graphic designer (School of Fine Arts of Porto, 1982) and she has attended several seminars and workshops on Animated Film (Avignon and Lille, France, 1981 and 1982). Since 1982, she has been working as a Communication Designer and has founded the Atelier Pã Design (Porto, 1990) and Atelier Coisas Assim. She is currently working on Design on her own and is developing proje"s related to photography. She has published her work in national and international books and maga-zines, and has won several awards. cargocolle"ive.com/wwwnesantelmodesign

Pelucas Martin (Vigo, Spain, 1980) holds a degree in Fine Arts (University of Pontevedra). An internationally renowned multidisciplinary arti! in the Urban Arts field, his work goes beyond gra&ti and wall painting: illu!ration, sculpture, perfor-mance, serigraphy, video creation, etc. He is a member of several publications like Solotroles and Tronquis, and of numerous colle"ives, such as Los niños e#ecialitos, Travismo, VSC, Hipoeru!o and Billete de 500. In addition to his !reet work, he reg-ularly exhibits in galleries and museums.

Pedro Leão Neto (Porto, Portugal, 1962) is an archite" and senior lec-turer of Communication, Photography and Multimedia (CFM), and Computer Archite"ure Added Design (CAAD) at the Faculty of Archite"ure of the University of Porto (FAUP). He is also the coordinator of the research group Centro de Comunicação e Representação E%acial (CCRE). He holds an MA (Faculty of Archite"ure of the University of Porto, 1997) and a PhD (University of Manche!er, 2002). He has curated several archite"ural photogra-phy exhibitions and international semi-nars. He is the author of several books and co-editor of On the Surface: Public Space and Archite!ural Images in Debate.

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Susana Paiva (Mozambique, 1970) !udied Psychology at the University of Coimbra but since 1989 she has devoted herself to photography. In 2009 she founded the platform "e Portfolio Proje!, where she coordinates a set of a"ivities in the areas of creation, produ"ion and photographic promotion. She is the coordinator of the online magazine Flânerie, and editor of Colecção Reflex, dedicated to the publication of essays on photography. She is currently coordinating the proje" “Escola Informal de Fotografia do E%e"áculo” [“Informal School of Performance Photography”], developed in association with Teatro Académico de Gil Vicente, in Coimbra.www.susanapaiva.com

Susana Ventura (Coimbra, Portugal, 1978) is an archite" (Department of Archite"ure, Faculty of Sciences of the University of Coimbra, 2003). She is currently a PhD can-didate, working on “Body without organs in Archite"ure”, at the Faculty of Social and Human Sciences, Nova University of Lisbon. She has been awarded a FCT researcher scholarship since 2007.

Tiago Casanova (Madeira, Portugal, 1988) !udies Archite"ure at the Faculty of Archite"ure of the University of Porto (FAUP) since 2006. He has been collaborat-ing with CCRE since 2007, and he organized the fir! and second cycle of “A Fotografia na Arquite"ura” [“Photography in Archite"ure”] in 2008 and 2009, as well as the FAUP Archite"ural Photography Award in 2009. In 2012, he took part in the international proje" European Borderlines. In that year he has won the Bes Revelação Award and received an Honorable Mention at Novos Talentos Fnac Fotografia.www.tiagocasanova.com

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Xavier Ribas (Barcelona, Spain, 1960) !udied Social Anthropology (University of Barcelona, 1990) and Documentary Photography (Newport School of Art and Design, 1993). His books include Xavier Ribas (Universidad de Salamanca, 1998) and San!uary (Gu!avo Gili, 2005). He has recently released Nomads, the fir! of five books of his series Concrete Geographies, published by Bside Books. He has worked in arti!ic commissions with the Fons National d’Art Contemporain (FNAC), the Museu d’Art Contemporani de Barcelona (MACBA), the International Photography Research Network (IPRN) and Rome International Photography Fe!ival. He is currently Senior Le"urer at the University of Brighton (UK), and a Visiting Le"urer at the Polytechnic University of Valencia.www.xavierribas.com

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NEXT EDITIONS

Crossing Borders and Shifting Boundaries is the main theme for the next cycle of scopio magazines. #e goal of each cycle is to explore the main concept and sub-topics through three di$erent but interrelated cat-egories: Archite"ure, City and Territory. #is will allow for a better under!anding of how archite"ure intera"s with our cities and how these entities in con!ant evolution define new forms of occupation of the available territory. #ese editions will be the basis for the scopio book. #e book for the upcoming cycle will be called scopio Crossing Borders and Shifting Boundaries: Archite!ure, City and Territory and it will only be published after the cycle’s third number is out.

During the next cycle, scopio will be partici-pating a"ively in the reedition of International Seminar ON THE SURFACE: public %ace and archite"ural images in debate1. #us, the

1 www.nasuperficie.ccre-online.com

next 3rd edition of International Seminar ON THE SURFACE will have as main theme: Crossing Borders and Shifting Boundaries.

"e International Seminar will focus on diverse countries and on how the migratory move-ments (crossing borders and boundaries) have influenced the places and people (iden-tities) of those countries, always bearing in mind the mentioned categories: Archite"ure, City and Territory.

#is will certainly lead to several photogra-phy proje"s and critical analyses which will explore how architecture is transformed, how it refle"s di$erent hybrid cultural iden-tities in many countries and how all of this intera"s with and a$e"s our cities. #us, we are intere!ed in photography and in proje"s that may reveal the multiple layers of hi!ory embedded in the archite"ure of cities from di$erent parts of the world, showing how

next editions and international photography contests

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these cities are in con!ant evolution and how they define new forms of occupation of the available territory. We are also intere!ed in under!anding how social, economic and political sy!ems and values a$e" the terri-tory and its cities, as well as the way people live and work on those places.

Some que!ions of intere! that can be taken on board are:

· #e cultural di$erences between country of origin and new country of migration;

· How today’s world promotes migration within each country and at an inter-regional level, along with the consequences of it all;

· The achievements, aims and hopes of numerous people and their place in society;

· How immigrants or minorities and their dreams are perceived in several countries with different values and how the former are assimilated;

· To que!ion our cultures’ values and desires and the particular features of place and time in several countries;

· To present migration through di$erent per-%e"ives.

#e magazine’s next edition, titled scopio Crossing Borders and Shifting Boundaries: Architecture, will primarily focus on the subje" of residential %aces, public %aces and city life. It will try to show works that chara"erise the rich multifaceted world of contemporary cities regarding immigrants or minorities’ di$erent types of blocks, neigh-bourhoods, cultural diversity and values expressed in various types of residential and public %aces. Among other things, it is about looking at archite"ural %aces and their many signs, which reveal the values, cu!oms and culture of the people who live there. In fa", the aim is to show a varied set of works capable of providing a creative and significant body of evidence as regards to the diversity and richness of our cities’ archi-te"ure and life. In addition, it will focus on the cities’ multiple hybrid cultural identities and the layers of hi!ory embedded in their architecture, in order to understand how social, economic and political sy!ems and values a$e" the way people live and work on those places and countries.

We will be announcing our two di$erent but related photography conte!s in each issue of scopio magazine: scopio International

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NEXT EDITIONS

Photography Conte! and cityscopio Inter-national Photobook Conte!.

SCOPIO International Photography Conte! is designed to encourage the creation of an intere!ing photography series of no more than 10 images, with a descriptive memory not exceeding 2000 chara"ers. #is means working with a concept and defining it visu-ally through the photographic process, thus creating a series of images related to one another. However, the relatedness is be! achieved by a cumulative e$e" rather than the order in which the images are presented.

CITYSCOPIO International Photobook Conte!, as the name implies, is dire"ed towards the creation of an Arti! Photobook, which also involves the visual definition of a concept. Nevertheless, the focus is now on creating a narrative, of no less than 20 images with a descriptive memory of 1500 words, assum-ing that by presenting a !ory the reader will be pulled in and “entertained”. In this case, an image is linked with the next one at a fun-damental, conceptual and emotional level, increasing the reader’s attention to the work in order to figure out what those connec-tions are. Our aim is to reveal the potential of the photobook as a mature medium capable

of communicating different perspectives and of combining diverse art expressions to convey in a unique way the rich multi-layered contemporary issues related to archite"ure, city %aces and the territory where people live and work. In this sense, we are accepting entries of small limited editions of Arti! Pho-tobooks or Dummies, as long as they follow the regulations and the publishing disclosure rights of the conte!.

Both contests will follow scopio’s major theme but, as already explained, they are dif-ferent and autonomous, with di$erent dead-lines, and they will be organized and published in di$erent websites (see www.scopiomaga-zine.com and www.narrativeconte!.citysco-pio.com). In each issue, we shall announce the theme for both conte!s, thus giving new authors better opportunities to present pro-je"s that may add richness to the contents of that theme. It will also be possible for authors to participate and regi!er proje"s before the deadline of the conte!. Accordingly, the forthcoming scopio International Photog-raphy Conte! and cityscopio International Photobook Conte! will both have as theme

“Crossing Borders and Shifting Boundaries: Architecture” and will be organized by the groups CCRE, scopio and cityscopio.

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Next Conte"s

“scopio International Photography Conte! – Crossing Borders and Shifting Boundaries: Archite!ure”

Deadline for entries: January 15 – 2014Rules available at www.scopiomagazine.com or submit reque! by email to conte!@cityscopio.com

“cityscopio International Photobook Conte! – Crossing Borders and Shifting Boundaries: Archite!ure”

Deadline for entries: April 15 – 2014Rules available at www.narrativeconte!.cityscopio.com or submit reque! by email to narrativeconte!@cityscopio.com