Flora Mary Bartlett captures the flows between lab and landscape through photographic exploration.
A reflection on the littoral as destination and pathway by Raquel Ferreira, Ana Luiza Souza, and Miguel Albuquerque.
In April 2024, during a workshop at the School of Arts and Humanities of the University of Lisbon, specialists from different countries and backgrounds talked about dunes. In addition to the scientific topics presented, we discussed how to make our work more compelling and accessible to a wider audience. We wanted to share our plural views on coastal issues and the importance of taking this diversity into account when managing for the future, because beaches are made up of sea and sand, but also of people’s expectations and choices. This exhibition is our way to do this. Each of us has chosen an image/object that represents our personal connection with the coast. We do not want to present results or conclusions; as in a museum or art gallery, it is up to you to find meaning and to write your own script based on your impressions.
About the Exhibition
A reflection on the use of images in environmental history.
A book on the history of repeat photography of glaciers.
Through a combination of historical research and environmental fieldwork focusing on photographic imagery taken during World War I, Noemi Quagliati documents the environmental recovery of the former Western Front.
Teena Gabrielson examines the visual politics at work in website photographs depicting environmental justice issues in the United States. She argues for a more inclusive socio-ecological politics which requires visual strategies that resist racialized ways of seeing and make visible the injustice of disproportionate environmental impacts on low-income communities and people of color.
Through a collection of 445 photographs taken from precisely the same places at intervals of months, years and decades,Die Zeit des Waldes [The forest over time] offers a stop-action look at the diversity of transformations within Germany’s forests.
Micheal Richardson investigates the impact of envisioning climate catastrophe in three works, namely George Miller’s film Mad Max: Fury Road (2015), Marina Zurkow’s animation Slurb (2009), and Briohny Doyle’s novel The Island Will Sink (2016).
This study focuses on the social conflict arisen from the use of camera traps for conservation practices and the “human bycatch,” namely captured images of people occurring mostly unintentionally. The authors argue for the necessity of policy guidelines to counter possible repercussion on the use of the camera trap, which is recognized as a resourceful tool for wildlife monitoring and photography.
An early color photograph of the Suna River by Sergey Prokudin-Gorsky (1863–1944), who is also featured in the picture.
