{"id":11,"date":"2022-06-14T08:29:22","date_gmt":"2022-06-14T11:29:22","guid":{"rendered":"https:\/\/osmargoncalves.com.br\/?page_id=11"},"modified":"2023-06-02T13:43:23","modified_gmt":"2023-06-02T16:43:23","slug":"bio","status":"publish","type":"page","link":"https:\/\/osmargoncalves.com.br\/en\/bio\/","title":{"rendered":"Bio"},"content":{"rendered":"
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Photographer, professor and researcher from S\u00e3o Paulo, Osmar has lived in Cear\u00e1 for 14 years. He is the winner of the PrixPhoto Alian\u00e7a Francesa (2019), the FUNARTE award for Production in Visual Arts (2013), the Fulbright Visiting Scholar Program (2022) and the Universal CNPq (2016).<\/p>\n

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Participated in the exhibitions: Mutierte Bilder (2009), August Meetings (2016), Verbo Ver Festival (2018), Solar Photofestival (2018), Fotosururu (2019), Image Circle (2021), Mar\u00e9 Fotofestival (2021), Panel of Cearense Photography (2021), Tiradentes Photography Festival (2021) and Rotterdam Photo (2022).<\/p>\n

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Post-doctorate in Cinema and Contemporary Art from the Sorbonne-Nouvelle University (Paris 3), PhD in Communication from the Federal University of Minas Gerais (UFMG), he is a professor at the Federal University of Cear\u00e1 (UFC), working in the Graduate Program in Communication (PPGCOM-UFC).<\/p>\n

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He was scientific director of Comp\u00f3s (National Association of Graduate Programs in Communication), director of Socine (Brazilian Society of Cinema and Audiovisual Studies) and is leader of IMAGO \u2013 Laboratory of Aesthetic and Image Studies. He was curator of the photographic exhibition \u201cNew perspectives on contemporary photography\u201d (CCBNB, 2016) and was part of the project selection committee for Secult's XII Cear\u00e1 Cinema and Video Announcement (2015).<\/p>\n

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He published the books: \u201cSensory Narratives: essays on cinema and contemporary art\u201d (Circuito, 2014) and, together with Susana Dobal, \u201cContemporary Photography: frontiers and transgressions\u201d (Casa das Musas, 2013).<\/p>\n

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Education:<\/strong><\/p>\n

2015 \u2013 Post-doctorate in Cinema and Contemporary Art \u2013 Universit\u00e9 Sorbonne-Nouvelle (Paris 3)<\/p>\n

2010 \u2013 PhD in Communication and Languages \u2013 Federal University of Minas Gerais (UFMG)<\/p>\n

2003 \u2013 Master\u2019s in Communication and Languages \u2013 Federal University of Minas Gerais (UFMG)<\/p>\n

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2022 \u2013 Visiting professor at New York University (NYU) \u2013 with Fulbright scholarship.<\/p>\n

2009 \u2013 PhD internship at Bauhaus-Universit\u00e4t \u2013 financed by DAAD\/Capes.<\/p>\n

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Awards:<\/strong><\/p>\n

2022 – Fulbright Visiting Scholar Program<\/p>\n

2019 \u2013 PrixPhoto Alliance Fran\u00e7aise \u2013 Best photo essay \u201cThe survival of fireflies\u201d<\/p>\n

2019 \u2013 Fotosururu Festival \u2013 Honorable Mention in the photo essay category.<\/p>\n

2016 \u2013 Universal CNPq Notice \u2013 project \u201cFrom the visible to the unpresentable: notes on contemporary Latin American photography\u201d<\/p>\n

2015 \u2013 Funcap Notice \u2013 project \u201cNew perspectives on contemporary photography\u201d<\/p>\n

2014 \u2013 FUNARTE Visual Arts Production Award\u00a0<\/p>\n

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Main Exhibitions:<\/strong><\/p>\n

2009 – Mutierte Bilder\u00a0<\/p>\n

2016 \u2013 August Meetings<\/p>\n

2018 \u2013 Verbo Ver Festival<\/p>\n

2018 \u2013 Solar Photofestival\u00a0<\/p>\n

2019 – Fotosururu\u00a0<\/p>\n

2021 \u2013 Image Circle<\/p>\n

2021 – Mare Fotofestival<\/p>\n

2021 \u2013 Panel of Cearense Photography\u00a0<\/p>\n

2021 \u2013 Tiradentes Photography Festival\u00a0<\/p>\n

2022 – Rotterdam Photo\u00a0<\/p>\n

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Published Books:<\/strong><\/p>\n

1. Image Theories: about photography (with Silas de Paula and Patr\u00edcia Veloso, Terra da Luz, Editorial, 2020).<\/p>\n

2. Sensory narratives: essays on cinema and contemporary art (Circuito, 2014).<\/p>\n

3. Contemporary Photography: Borders and Transgressions (with Susana Dobal, Casa das Musas, 2013).<\/p>\n

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Published articles:<\/strong><\/p>\n

1. Reis Filho, O; Ciquini, F. (2021). Demystifications of photography: Machado, Wolf and the editor-photographer. Meaning, v. 48, p.113-132.<\/p>\n

2. Reis Filho, O.; Morais, I. (2019). Staging in photography \u2013 setting up scenes and telling stories. Galaxy, v. 40, p.85-100.<\/p>\n

3. Reis Filho, O.; Reinaldo, G. (2019) Warburg and Benjamin: unfinishedness and montage as methods of knowledge. E-comp\u00f3s, v. 22, p.1-20.<\/p>\n

4. Reis Filho, O. (2017). Insurgent images: notes on urban photography in Cear\u00e1. Photographic Discourses, v. 13, p. 107.<\/p>\n

5. Reis Filho, O. (2016). Photography and urban experience: notes on the poetics of chaos in Eust\u00e1quio Neves. Libero, vol. 37, p. 61-70<\/p>\n

6. Reis Filho, O.; Morais, I. (2016). Self-portrait: photography in performance. Borders, vol. 18, p. 3-13.<\/p>\n

7. Reis Filho, O. (2013). Aesthetics of Photography: a dialogue between Benjamin and Flusser. Flusser Studies, vol. 15, p. 100-113.<\/p>\n

8. Reis Filho, O.; Vasconcelos, L. (2012). From the Door to Inside: Nan Goldin, Cia de Foto and the poetics of intimacy in contemporary photography. In Question (UFRGS), v. 18, p. 100.<\/p>\n

9. Reis Filho, O. (2012). Reconfigurations of the gaze: haptics in contemporary visual culture. Visualities, v. 10, p. 100-115.<\/p>\n

10. Reis Filho, O. (2011). Powers of the void: video art between nihilism and transfiguration. Gal\u00e1xia, v.11, p. 102-111.<\/p>\n

11. Reis Filho, O. (2007). Deconstruction, opacity and memorylessness: the reinvention of photography in contemporary practice. Meaning, v. 27, p. 89-100.<\/p>\n

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Book Chapters:<\/strong><\/p>\n

1. Reis Filho, O. (2020). What can art do when darkness reigns? Two or three things about Kh\u00f4ra, by Ma\u00edra Ortins. In: Silas de Paula (Orgs.) Ma\u00edra Ortins: an imagined place. Fortaleza: Express\u00e3o.<\/p>\n

2. Reis Filho, O. (2019). Cinema (live): disjunctive editing and the explosion of meanings in the practice of VJs. In: Philippe Dubois et al. (Org.). Post-photography, Post-cinema: new image configurations. S\u00e3o Paulo: Edi\u00e7\u00f5es Sesc, p. 85-100.<\/p>\n

3. Reis Filho, O. (2019). What can photography do today? Notes on experimentation and playfulness in the works of Ros\u00e2ngela Renn\u00f3 and Alexandre Sequeira. In: ngela Marques; Frederico Vieira (Org.). Images and Alterities. Belo Horizonte: UFMG, p. 107-120.<\/p>\n

4. Reis Filho, O. (2016). The staging in the photographic portrait: from \u201cthis was\u201d to \u201cthis was staged\u201d. In: Ant\u00f4nio Fatorelli; Victa Carvalho; Leandro Pimentel (Org.). Contemporary Photography: challenges and trends. Rio de Janeiro: Mauad, p. 145-162.<\/p>\n

5. Reis Filho, O. (2013). Distorting the camera, virtualizing the Image: playfulness in contemporary photography. In: Osmar Gon\u00e7alves dos Reis Filho; Susana Dobal. (Org.). Contemporary Photography: Borders and Transgressions. Bras\u00edlia: Casa das Musas, 2013, p. 57-74.<\/p>\n

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Fot\u00f3grafo, professor e pesquisador paulista, reside h\u00e1 14 anos no Cear\u00e1. \u00c9 ganhador do PrixPhoto Alian\u00e7a Francesa (2019), do pr\u00eamio FUNARTE de Produ\u00e7\u00e3o em Artes Visuais (2013), do Fulbright Visiting Scholar Program (2022) e do Universal CNPq (2016). Participou das exposi\u00e7\u00f5es: Mutierte Bilder (2009), Encontros de Agosto (2016), Festival Verbo Ver (2018), Fotofestival Solar (2018),… Read More »Bio<\/span><\/a><\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"off","neve_meta_content_width":100,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"on","footnotes":""},"class_list":["post-11","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/osmargoncalves.com.br\/en\/wp-json\/wp\/v2\/pages\/11","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/osmargoncalves.com.br\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/osmargoncalves.com.br\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/osmargoncalves.com.br\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/osmargoncalves.com.br\/en\/wp-json\/wp\/v2\/comments?post=11"}],"version-history":[{"count":79,"href":"https:\/\/osmargoncalves.com.br\/en\/wp-json\/wp\/v2\/pages\/11\/revisions"}],"predecessor-version":[{"id":1527,"href":"https:\/\/osmargoncalves.com.br\/en\/wp-json\/wp\/v2\/pages\/11\/revisions\/1527"}],"wp:attachment":[{"href":"https:\/\/osmargoncalves.com.br\/en\/wp-json\/wp\/v2\/media?parent=11"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}