Erika Zerwes
Associated Lecture at Birkbeck, University of London (2024)
Henriette Herz Fellow at the Katholische Universität Eichstätt-Ingolstadt, Dialogical Cultures (2023)
Research Fellow at DfK / Paris and Casa de Velazquez, MIAS / Madrid (2021-2022)
Postdoc at the Museum of Contemporary Art of the University of São Paulo
PhD UNICAMP (2018)
Henriette Herz Fellow at the Katholische Universität Eichstätt-Ingolstadt, Dialogical Cultures (2023)
Research Fellow at DfK / Paris and Casa de Velazquez, MIAS / Madrid (2021-2022)
Postdoc at the Museum of Contemporary Art of the University of São Paulo
PhD UNICAMP (2018)
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Antes disso, durante aquele tempo de guerra, os quatro fotógrafos estavam envolvidos com os círculos antifascistas europeus e com os ideais que animavam as esquerdas, ao mesmo tempo em que ajudavam a produzir uma nova linguagem visual, a do fotojornalismo moderno.
O livro vai contar, de maneira envolvente, como estes quatro fotógrafos buscaram comunicar em suas imagens o que acreditavam serem realidades políticas e sociais, utilizando a fotografia como arma de guerra. Conta também como estas imagens fizeram parte de uma cultura visual e de uma cultura política específicas, mas, ao longo do tempo, também causaram um grande impacto na visualidade e na história coletiva de meados do século XX. E, finalmente, como o trabalho destes quatro fotógrafos ajudou a consolidar um modelo para a profissão do fotojornalista correspondente de guerra.
Papers by Erika Zerwes
They were also part of an important period of the history of Brazilian photography when institutionalization of artistic and documentary photography and professionalization of photojournalism occurred. Both photographers were engaged in the fight for a unified sale price list, for image rights and for freedom for pursuing their own news stories during late 1970s and early 1980s.
Working for the alternative press, Benedicto and Gauditano were able to document in photography that specific political culture.
One of the most relevant stories they worked on that period, which is closely related to their left-wing political engagement and have an important place within the body of their work, is the series of strikes that happened in industrial areas (ABC) in the outskirts of São Paulo from 1978 to 1981.
Antes disso, durante aquele tempo de guerra, os quatro fotógrafos estavam envolvidos com os círculos antifascistas europeus e com os ideais que animavam as esquerdas, ao mesmo tempo em que ajudavam a produzir uma nova linguagem visual, a do fotojornalismo moderno.
O livro vai contar, de maneira envolvente, como estes quatro fotógrafos buscaram comunicar em suas imagens o que acreditavam serem realidades políticas e sociais, utilizando a fotografia como arma de guerra. Conta também como estas imagens fizeram parte de uma cultura visual e de uma cultura política específicas, mas, ao longo do tempo, também causaram um grande impacto na visualidade e na história coletiva de meados do século XX. E, finalmente, como o trabalho destes quatro fotógrafos ajudou a consolidar um modelo para a profissão do fotojornalista correspondente de guerra.
They were also part of an important period of the history of Brazilian photography when institutionalization of artistic and documentary photography and professionalization of photojournalism occurred. Both photographers were engaged in the fight for a unified sale price list, for image rights and for freedom for pursuing their own news stories during late 1970s and early 1980s.
Working for the alternative press, Benedicto and Gauditano were able to document in photography that specific political culture.
One of the most relevant stories they worked on that period, which is closely related to their left-wing political engagement and have an important place within the body of their work, is the series of strikes that happened in industrial areas (ABC) in the outskirts of São Paulo from 1978 to 1981.
Link: https://reb.universia.net/article/view/3073/coloquios-latinoamericanos-fotografia-institucionalizacion-fotografia-brasilena
This paper is originated from the second chapter of the PhD thesis Tempo de Guerra: cultura visual e cultura política nas fotografias de guerra dos fundadores da agência Magnum (1936-1947), which was presented at Unicamp in 2013. The discussion presented in the chapter and summarized in this paper is central to the thesis, as it concentrates on the case study of two images recognised as icons to this day: Robert Capa’s photograph known as “the falling militiaman” and David Seymour Chim’s photograph known as “the mother from Estremadura”. Both were made in Spain in 1936 and circulated in the context of the civil war that erupted that year. As we discuss the technical, aesthetical and ideological elements in the processes of constructing these images, we discuss the very notion of photographic icon as well. The discussion presented here in a condensed form was also important for the PhD research because it unveiled directions through which it could expand, and pointed out the way to the work the researcher is currently developing, about humanist photography in its various manifestations and political associations.