PORTFÓLIO ANDRÉ PRÍNCIPE

ANDRÉ PRÍNCIPE

Untitled“Perfume de Boi”, 2012

Impressão jacto de tinta Inkjet print, 114 x 142 cm

Imagens da exposição View of the exhibition A Hard Rain is Going to Fall | 26.09.20 - 09.01.21

Carlos Carvalho Arte Contemporânea, Lisboa















Imagens da exposição View of the exhibition A Hard Rain is Going to Fall |

26.09.20 - 09.01.21





Untitled “Hard rain is going to fall” 2019

Impressão jacto de tinta Inkjet print , 111 x 90,5 cm






Impressão jacto de tinta Inkjet print, 92 x 111,5 cm


Impressão jacto de tinta Inkjet print, 111,5 x 142 cm

Elefante

Na sua primeira exposição individual, em

contexto institucional, na cidade de Lisboa,

André Príncipe apresenta no MAAT a

exposição Elefante. O artista prossegue a sua

investigação em torno das possibilidades do

meio fotográfico enquanto mecanismo de

perceção, apreensão e construção do real,

reunindo um conjunto de obras fotográficas

inéditas e uma instalação vídeo

especificamente concebida para o contexto da

exposição. Trabalhando a partir do seu arquivo

fotográfico o artista seleciona e edita as

imagens procurando estabelecer ligações e

relações dialéticas, mais ou menos

harmoniosas, na direção da procura de um

sentido que raramente é narrativo.

Num processo que assume uma aproximação

à linguagem do cinema, André Príncipe, evoca

a condição documental da fotografia, sem

esquecer simultaneamente a sua inevitável

condição ficcional. Reitera um interesse pela

tradição das disciplinas artísticas,

nomeadamente pela Pintura enquanto

modelo de representação, e reafirma a sua

atenção às temáticas da vida e da morte, do

espaço e do tempo, da permanência e da

efemeridade, da poesia e da política, da

ascensão e da queda.

https://www.maat.pt/pt/exposicoes/andreprincipe-elefante

In his first solo exhibition in an institutional

context in Lisbon city, André Príncipe presents

Elephant at MAAT. The artist continues his

exploration of the photographic medium as a

mechanism to perceive, capture and construct

the reality, gathering a set of unpublished

photographic works and a video installation

specifically designed for this exhibition. Working

from his photographic archive the artist selects

and edits the images to create dialectical

connections and relationships of varying harmony

in search of a meaning that is rarely narrative.

In a process somewhat akin to the language of

cinema, André Príncipe evokes the documentary

condition of photography while simultaneously

recalling its inevitable fictional condition. His work

reflects an interest in artistic traditions as models

of representation, especially in painting, and

reaffirms his concern with the themes of life and

death, space and time, permanence and

ephemerality, poetry and politics, and rise and

fall.

https://www.maat.pt/en/exhibitions/andreprincipe-elefante

Exposição individual comissariada por

Ana Anacleto e João Pinharanda

Solo show curated by Ana Anacleto and

João Pinharanda

MAAT - Museu de Arte Arquitectura e

Tecnologia, Lisboa Lisbon

05 Out 2018 - 31 Dez 2018

Imagens da exposição | IExhibition views at MAAT, Portugal, 2018



Imagens da exposição | Exhibition views at MAAT, Portugal, 2018

Non-fiction

Exposição individual

Solo show

Centro Cultural Vila Flor,

Guimarães, Portugal

05 Maio - 28 de Julho

2018 May 05-Jul 28

Imagens da exposição | Exhibition views at Centro Cultural Vila Flor, Guimarães, Portugal, 2018







EDIT:

sequence -

meaning

Exposição colectiva comissariada

por Miguel von Hafe Pérez

Group show curated by Miguel von

Hafe Pérez

CGAC - Centro Galego de Arte

Contemporáneo, Santiago de

Compostela, Espanha Spain

06 Março - 14 Junho 2014 06

March - 14 June 2014

Taking the experience and recognition of four Galician

and Portuguese publishers (Dispara, Fabulatorio, Ghost

and Pierre von Kleist) as a starting point, this exhibition

has been created on the basis of the complicity

established between the creative act and the

subsequent publishing thereof. With a long,

consolidated history in modern times as a fundamental

account in the construction of an idea of the world,

photography printed in books challenges textual

narrativism and distances itself from the aura of the

unique object. It is in the intersection between the

image/exhibition where contemporary photography

has most effectively demonstrated its relevance in the

broad field of visual arts.

On display in this exhibition are works not only by the

authors-editors themselves, and by the artists chosen

by them to produce publications in the respective

publishing houses, but also different material portraying

the conceptual and practical process

of developing an idea right up to its final result.

The portrait, the critical memory of a constantly

morphing social landscape, and the connection with the

possibility of the image being established as a

seismograph sensitive to one’s gaze approaching

aesthetic thought are leitmotifs in the proposals

presented in this exhibition. The radical creative

idiosyncrasy of each of these artists gives rise to an

improbable, but at the same time, real map of

contemporaneity recovered through images which are

significant in an age dominated precisely by an

overabundance of images. More than mere editors and

producers of images (which can also be revealed

through cinema, as is the case of André Príncipe, two of

whose films are screened in the museum’s auditorium),

here we are giving visibility to true producers of

meaning. The image as meaning. Publish: sequence/

meaning. We are living in paradoxical times: many

predicted that the book, as a physical object, would be

destined to suffer to a harrowing demise in its battle

against the massive digitalisation of content. In truth,

many publishers, from all areas of human knowledge—

from literature to hard sciences and from

entertainment to philosophy—have had to close their

doors in recent years. More: http://cgac.xunta.gal/assets/

img/exposiciones/2015/folletos/folleto%20edita.pdf

Taking the experience and recognition of four Galician

and Portuguese publishers (Dispara, Fabulatorio,

Ghost and Pierre von Kleist) as a starting point, this

exhibition has been created on the basis of the

complicity established between the creative act and

the subsequent publishing thereof. With a long,

consolidated history in modern times as a

fundamental account in the construction of an idea of

the world, photography printed in books challenges

textual narrativism and distances itself from the aura

of the unique object. It is in the intersection between

the image/exhibition where contemporary

photography has most effectively demonstrated its

relevance in the broad field of visual arts.

On display in this exhibition are works not only by the

authors-editors themselves, and by the artists chosen

by them to produce publications in the respective

publishing houses, but also different material

portraying the conceptual and practical process

of developing an idea right up to its final result.

The portrait, the critical memory of a constantly

morphing social landscape, and the connection with

the possibility of the image being established as a

seismograph sensitive to one’s gaze approaching

aesthetic thought are leitmotifs in the proposals

presented in this exhibition. The radical creative

idiosyncrasy of each of these artists gives rise to an

improbable, but at the same time, real map of

contemporaneity recovered through images which are

significant in an age dominated precisely by an

overabundance of images. More than mere editors

and producers of images (which can also be revealed

through cinema, as is the case of André Príncipe, two

of whose films are screened in the museum’s

auditorium), here we are giving visibility to true

producers of meaning. The image as meaning. Publish:

sequence/meaning. We are living in paradoxical times:

many predicted that the book, as a physical object,

would be destined to suffer to a harrowing demise in

its battle against the massive digitalisation of content.

In truth, many publishers, from all areas of human

knowledge—from literature to hard sciences and

from entertainment to philosophy—have had to close

their doors in recent years. We are also seeing the

Imagens da exposição | Exhibition views at CGAC - Centro de Arte Galego de Arte Contemporáneo, Santiago de Compostela. Espanha Spain, 2014

Inquéritos

ao

território,

paisagem e

povoamento

Surveys [of

Photography and

Territory] ·

Landscape and

Settlement

Exposição colectiva comissariada por

Nuno Faria. Group show curated by

Nuno Faria

Centro Internacional das Artes André

de Guimarães (CIAJG)

17 Outubro a 14 Fevereiro 2015.

October 17 - February 14 2015

A fotografia tem um duplo eixo operativo:

desloca-se entre o documento e o discurso. O

território tem sido um lugar de indagação e de

reflexão, de constituição individual e coletiva.

Transversal a várias disciplinas, à fotografia tem

cabido um papel central nessa tarefa de

mapeamento. Tendo como ponto de partida a

expedição à Serra da Estrela, realizada sob a

égide da Sociedade Martins Sarmento em 1881,

e o trabalho pioneiro e menos conhecido de

Carlos Relvas sobre uma considerável porção do

território português, a exposição reúne um

conjunto de inquéritos ao território em que a

fotografia (e em alguns casos o filme) assume

particular relevância - desde o levantamento

contínuo de Orlando Ribeiro, iniciado ainda na

década de 1930, passando pelo Inquérito à

Arquitectura Popular, realizado na primeira

metade de 1950 e pelas recolhas do grupo de

etnólogos formados e liderados por Jorge Dias,

sistematizadas a partir da década de 1960 até ao

princípio de 1980, até aos levantamentos mais

recentes, de Duarte Belo (Horizonte Portugal, O

Sabor da Terra, Portugal, Luz e Sombra, etc.) ou

Álvaro Domingues (A rua da estrada, A vida no

campo), André Príncipe (Campo de flamingos

sem flamingos) ou Daniel Blaufuks (Um pouco

mais pequeno que o Indiana), Nuno Cera e

Diogo Seixas Lopes (Cimêncio), entre outros.

Elenco Expedição Científica à Serra da Estrela

(1881), Carlos Relvas, Orlando Ribeiro, Inquérito

à Arquitetura Regional (1951-55), levantamentos

realizados no âmbito do trabalho do Centro de

Estudos de Etnologia (Jorge Dias, Ernesto Veiga

de Oliveira, Fernando Galhano e Benjamin

Pereira), Alberto Carneiro, Carlos Alberto

Augusto, Duarte Belo, Álvaro Domingues, Nuno

Cera e Diogo Seixas Lopes, Paulo Catrica, Valter

Vinagre, André Príncipe, Daniel Blaufuks, Mariana

Caló e Francisco Queimadela, Álvaro Teixeira,

Jorge Graça, Carlos Lobo, entre outros.

http://www.ciajg.pt/

_os_inqueritos_fotografia_e_territorio&mop=26

Photography has a dual operational axis, that

moves between the document and the

discourse. The territory has always been a place

for individual and collective enquiry and

reflection. Cutting across various disciplines,

photography has played a central role in this core

mapping task. Starting with an expedition to the

Serra da Estrela, organised under the aegis of the

Sociedade Martins Sarmento in 1881, Carlos

Relvas’ pioneering and less known work covers a

considerable portion of Portuguese territory. This

exhibition brings together a number of surveys

of the territory in which photography (and in

some cases film) is particularly relevant – ranging

from the continuous survey of Orlando Ribeiro,

that had already begun in the 1930s, through the

Survey on Popular Architecture, organised in the

first half of the 1950s and the collections

undertaken by a group of trained ethnologists

and led by Jorge Dias, systematised between the

1960s and the early 1980s to more recent

surveys, by Duarte Belo (Horizon Portugal, The

Taste of the Earth, Portugal, Light and Shadow,

etc.) or Álvaro Domingues (The street of the

road, Country Life), André Príncipe (Field of

flamingos without flamingos) or Daniel Blaufuks

(Slightly smaller than Indiana), Nuno Cera and

Diogo Seixas Lopes (Cimêncio), among others.

http://www.ciajg.pt/

_surveys_of_photography_and_the_territory_lan

dscape_and_settlement&mop=55

Imagens da exposição | Exhibition views at Centro Internacional das Artes André de Guimarães (CIAJG), Guimarães, Portugal, 2015

Campo de

flamingos

sem

flamingos

Campo de Flamingos sem Flamingos | (video stills), 2015

Smell of

tiger

precedes

tiger

Exposição individual Solo show

Galeria Fernando Santos, Lisboa

Lisbon Portugal, 2008

Imagens da exposição | Exhibition views at Galeria Fernando Santos, Lisboa Lisbon Portugal, 2008

Master and

everyone

Exposição individual Solo show

Galeria Fernando Santos, Porto

2010

Imagens da exposição | Exhibition views at Galeria Fernando Santos,Porto, Portugal, 2008



Non-Fiction | Softcover, 22,3x29cm

Text and 91 images, colour and black and white, 140 pages

You´re Living for Nothing Now: | Book 1, 2, 3 | Pierre von Kleist editions, 2016

Softcover, 3 vols. in slipcase, 21,3x30cm, color and black and white, 240 pages (80 pages each volume).

O Perfume do Boi | Pierre von Kleist editions

Softcover, 48 pages, color, 23.5 x 34 cm

I Thought You Knew Where All Of The Elephants Lie Down | Pierre von Kleist editions

Softcover, 48 pages, color, 23.5 x 34 cm

10/01/2019 O movimento do tempo | Crítica | PÚBLICO

CRÍTICA ARTE

O movimento do tempo

Na primeira exposição individual de André Príncipe num

museu, a fotografia é uma arte das aparições, entre a vida e a

morte, o real e a ficção.

Elefante

JOSÉ MARMELEIRA • 5 de Dezembro de 2018, 14:38

Todos os retratados foram um dia vistos por André Príncipe,

fizeram ou fazem parte da sua vida individual

Elefante não é a primeira exposição

individual de André Príncipe, cineasta e

fundador (com José Pedro Cortes) da

editora de livros de fotografia Pierre Von

Kleist, mas tem elementos que lhe

conferem um carácter inédito: um trabalho

de curadoria (de Ana Anacleto e de João

Pinharanda) e uma selecção de obras do

arquivo do artista (realizadas em 1998).

ASSINE JÁ 12 semanas por 2,99€ ×

https://www.publico.pt/2018/12/05/culturaipsilon/critica/movimento-tempo-1853325 1/3

10/01/2019 Aqui não há nenhum ângulo para tornar a vida atraente | Livros | PÚBLICO

LIVROS

Aqui não há nenhum

ângulo para tornar a

vida atraente

Há poucos caminhos rectilíneos na fotografia de André

Príncipe. Os três volumes de You’re Living for Nothing Now

mostram cinco anos na vida de alguém que tenta cativar-nos

para o pulsar da vida, em vez de nos levar pela mão. Um livro

que funciona como desfoque da realidade.

SÉRGIO B. GOMES • 1 de Janeiro de 2017, 9:52

Uma destas noites sonhei que André

Príncipe tinha morrido. E que a conversa

que tínhamos marcado por telefone dias

antes sobre o seu novo livro jamais poderia

acontecer, que ficaria tudo por explicar,

que agora nada poderia ser revelado sobre

o que o levou até You’re Living for Nothing

ASSINE JÁ 12 semanas por 2,99€ ×

https://www.publico.pt/2017/01/01/culturaipsilon/noticia/aqui-nao-ha-nenhum-angulo-para-tornar-a-vida-atraente-1756237 1/13

ANDRÉ PRÍNCIPE

Nasceu em1976 no Porto, Portugal.

Concluiu o curso de Realização Avançada da London Film

School / Fundação Calouste Gulbenkian em Lisboa, 2005, é

licenciado em Cinema na Escola Superior de Teatro e Cinema

em Lisboa em 2001, tendo ainda concluído o 4º ano de

Psicologia na Universidade do Porto em 1998.

É o fundador e director da Pierre von Kleist, editora

especializada em fotolivros, distribuída mundialmente que conta

já com 31 livros publicados. Das exposição individuais realizadas

destacamos Hard rain is going to fall (Carlos Carvalho Arte

Contemporânea, Lisbon, 2020), Elefante (MAAT – Museu Arte,

Arquitectura e Tecnologia, Lisbon, 2018, comissariada por Ana

Anacleto and João Pinharanda), Non-fiction (Centro Cultural

Vila Flor, Guimarães, 2018), Smell of Tiger and things still to

come (CAV, Coimbra, 2014), Please don´t reproach me for

how empty my life has become (Museu da Imagem,

Encontros da Imagem, Braga, 2011). Em relação às suas

exposições colectivas notabilizam-se Edit: Sequence / Meaning

(CGAC - Centro Galego de Arte Contemporáneo, Santiago de

Compostela, Espanha, 2015), Os Inquéritos [à Fotografia e

ao Território] Paisagem e povoamento (CIAJG - Centro

Internacional das Artes José de Guimarães, Guimarães, 2015),

Setembers, Recontres Internationales de la Photo de Fès,

(Fès, Morroco, 2014,) Borderlines, Nordic House (Reykjavík,

Iceland, 2013.) Os filmes Campo de Flamingos sem

Flamingos, (Lisboa, 2013) e Traces of a Diary, co-dirigido por

Marco Martins (Lisbon, 2010) foram mostrados em festivais

internacionais de cinema incluindo Chantiers d’Europe, Paris

(2015), Rio de Janeiro International Film Festival (2014), Musée

de la Chasse et de la Nature, Paris (2014), Indie Lisboa, national

competition (2013) Documenta Madrid, Internacional

Competition Jury Prize (2011), Traverse City Film Festival,

Experimental Film Competition, Michigan, USA (2011), Bradford

International Film Festival (2011), Gotamburg Film Festival, Bilder

on Bilder (2011), TIFF, Transilvania International Film Festival

(2011), Era New Horizons, Wroclaw Films on Art competition

(2010), Aosta Mountain Film Festival (2010).

ANDRÉ PRÍNCIPE

Born in 1976 in Oporto, Portugal.

He graduated in Advanced Film Directing at London Film School

/ Fundação Calouste Gulbenkian, in Lisbon, 2005, Graduates

from Film at Escola Superior de Teatro e Cinema, Lisbon in

Lisbon, 2001 and in Psychology course at Oporto University.

He is the founder and editor of Pierre von Kleist editions –

worldwide distributed publishing house, specialised in photo

books that published more than 30 books. About his individual

exhibitions we have to mention Hard rain is going to fall

(Carlos Carvalho Arte Contemporânea, Lisbon, 2020), Elefante

(MAAT – Museu Arte, Arquitectura e Tecnologia, Lisbon, 2018,

curated by Ana Anacleto and João Pinharanda), Non-fiction

(Centro Cultural Vila Flor, Guimarães, 2018), Smell of Tiger and

things still to come (CAV, Coimbra, 2014), Please don´t

reproach me for how empty my life has become (Museu da

Imagem, Encontros da Imagem, Braga, 2011). As far his

exhibitions in a group, we have to mention his work in Edit:

Sequence / Meaning (CGAC - Centro Galego de Arte

Contemporáneo, Santiago de Compostela, Spain, 2015), Os

Inquéritos [à Fotografia e ao Território] Paisagem e

povoamento (CIAJG - Centro Internacional das Artes José de

Guimarães, Guimarães, 2015), Setembers, Recontres

Internationales de la Photo de Fès, (Fès, Morroco, 2014,)

Borderlines, Nordic House (Reykjavík, Iceland, 2013.) His films

Campo de Flamingos sem Flamingos, (Lisbon, 2013) and

Traces of a Diary, co-Directed with Marco Martins (Lisbon,

2010) were exhibited in international film festivals including

Chantiers d’Europe, Paris (2015), Rio de Janeiro International

Film Festival (2014), Musée de la Chasse et de la Nature, Paris

(2014), Indie Lisboa, national competition (2013) Documenta

Madrid, Internacional Competition Jury Prize (2011), Traverse

City Film Festival, Experimental Film Competition, Michigan, USA

(2011), Bradford International Film Festival (2011), Gotamburg

Film Festival, Bilder on Bilder (2011), TIFF, Transilvania

International Film Festival (2011), Era New Horizons, Wroclaw

Films on Art competition (2010), Aosta Mountain Film Festival

(2010).

Carlos Carvalho Arte Contemporânea

Rua Joly Braga Santos, lote f r/c

1600-123 Lisboa | Portugal

carloscarvalho-ac@carloscarvalho-ac.com

www.carloscarvalho-ac.com

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