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Nuno Porto fonds

  • 120
  • Fundo
  • 2012 - 2018

Includes material related to the Pigapicha! exhibition at the Museum of Anthropology. Nuno Porto curated this exhibition. Records include correspondence, research, and meeting notes.

Sem título

Exhibitions

Series consists of records related to exhibitions in which Porto was involved. Material includes planning documents, correspondence, meeting minutes, research, and promotional material.

Sem título

Pigapicha! 100 Years of Studio Photography in Nairobi

Sub-series consists of records related to the exhibition 'Pigapicha! 100 Years of Studio Photography in Nairobi,' which was on display at the Museum of Anthropology from November 25, 2014 - April 5, 2015. Porto was the Curatorial Liaison for this exhibition, which was curated by Katharine Greven and first displayed at the Nairobi National Museum in 2009.

The exhibition was described on the Museum of Anthropology's website as follows:

"MOA takes a profound look at Kenya’s popular culture through an illuminating collection of studio photography, from the 1910s to the present day, in the North American premiere of Pigapicha!, November 25, 2014 through April 5, 2015. Including more than180 photographs spanning a century, this deeply moving exhibition showcases portraits that are carefully staged in the studio as well as those quickly taken on the streets of Nairobi. The exhibition documents the customs of modern Kenyan urban culture while supporting an East African history of photography.

“MOA has always served as a forum for cultivating an understanding and appreciation of the diversity of world arts and cultures traditions,” explains Nuno Porto, Curatorial Liaison for Pigapicha! at MOA. “This Canadian premiere exhibition aligns with MOA’s mission through a comprehensive examination of studio photography in East Africa, incorporating works from all backgrounds – as opposed to similar projects which have focused on Kenya’s booming middle-class.”

Curator and professional photographer Katharina Greven, formerly of the Goethe-Institut in Kenya, partnered with more than 30 photography studios in Nairobi and consulted with photographers, studio operators, artists, bloggers, journalists, and cultural scientists to curate this diverse collection of portraits – a subtle balance between the fine arts and the rich, distinct flavors of East African popular culture.

'A highly-regarded art form in Nairobi, portrait photography is used to tell stories, share social status, and transform everyday life,' says Curator Katharina Greven. 'More than a direct reflection of the individual, these self portraits highlight and amplify desirable features to create an illusion of the idyllic self. In the past 15 years, studio photography has experienced an unfortunate decline in popularity – likely a direct result of cameras, now commonplace on mobile phones. For this reason, Pigapicha! serves to recognize and preserve portrait photography as a significant art form and thus connect us to the significant history of urban Kenya before it is lost.'

Pigapicha! – which literally translates as “take my picture!” – will include more than 180 images ranging from carefully staged artistic prints, to passport photos, to pictures snapped hastily on the streets of Nairobi. Judiciously arranged into six thematic groups –Uzee na Busara (Age and Wisdom), I and Me, Open Air, Imaginary ‘Safari’, Speaking from Yesterday and Intimacy – each image will offer a unique stance on the attitudes, beliefs, and customs of generations of Nairobi citizens.

Born from the cooperative efforts of Iwalewa Haus and the DEVA-Archive, both with the University of Bayreuth, and the Goethe-Institut in Nairobi, this exhibition opening at MOA will mark the first time this powerful collection has been displayed for a North American audience. First presented in 2009 at the Nairobi National Museum, Pigapicha! has since been exhibited in 2011 at Iwalewa Haus in Bayreuth, Germany and in 2013 at the Forum des Arts et de la Culture in Bordeaux, France."

Sem título

Captain Cook Exhibit

Sub-series consists of textual records related to the exhibit on the voyages of Captain Cook to Nootka Sound. Included is the paper “Encounter 1778: Drawings and Watercolours of Nootka Sound by John Webber” by Natalie MacFarlane, exhibit scripts, video scripts, correspondence, and loan forms for the Webber drawings.

NMM: Children of the Raven

Sub-series consists of textual records for the exhibit titled “NMM: Children of the Raven” based on the beliefs and culture of British Columbia First Nations, with an emphasis on ceremonial objects and their iconographic meanings. Records include memos; exhibit floor plans, text blocks for exhibit, and colour drawings of items in the exhibit.

Sensibilities

Sub-series consists of textual records related to the exhibition “Sensibilities” that challenged the notations of segregated collections space according to culture. The basic premise of the exhibit was for the viewer to come up with their own interpretation as to the objects presented before them. Records include exhibit planning notes, exhibit floor plan drawings, correspondence, loan forms, and newspaper articles about the exhibit.

Ouroboros

Sub-series consists of textual records from the exhibit “ Ouroboros” by Stephen Clark, and curated by Halpin. Records include correspondence between Halpin and Clark, letters received by Halpin, an exhibit pamphlet, a public relations release, newspaper articles on the exhibit, and a copy of the exhibit comment book.

Shadbolt exhibit

Sub-series consists of records related to the 1986 exhibition on the art of Jack Shadbolt and includes textual records, photographs, slides, and one lecture tape. The textual records include grants and contracts, correspondence requesting loans of specific artwork for the exhibit, records relating to exhibit planning and compilation of the exhibit catalogue, exhibit reviews, a copy of the exhibit comment book, and interviews with Shadbolt. Also included are photographs of exhibit pieces.
The sub-series has been divided into three sub-sub-series:

  1. Grants, 1984-1986
  2. Loans, 1980-1986
  3. General, 1973-1986

West Coast exhibit

Sub-series consists of textual records for the West Coast art exhibit organized by Ron Hamilton and Marjorie Halpin. Records include Hamilton’s biography, exhibit correspondence, project proposal and exhibit planning. Also included is a transcript from a taped interview of Ron Hamilton by Karen Duffek in 1989.

Our Chiefs and Elders

Sub-series consists of records from the photographic exhibition by David Neel, Kwagiutl, on First Nations elders in British Columbia. Records include newspaper reviews, correspondence, exhibit proposal and planning, and transcripts from interviews with chiefs and village elders. Also included are slides of portraits of chiefs and elders.

Lyle Wilson exhibit

Sub-series consists of textual records of the two-man show of art by Lyle Wilson and Doug Cranmer, two native artists of the region. Includes biographies of the artists, the opening speech from the exhibit, a news release and a museum brochure.

Ron Hamilton exhibit

Sub-series consists of textual and graphic records related to the public exhibition of drawings and poems by Nuu-Chah-nulth artist, Ron Hamilton, which depict the cosmology of the First Nations people. Records include an artists’ biography, notes on exhibit planning, loan forms, and a copy of the exhibit comment book. Also included are photographs from the exhibit and of Hamilton’s drawings, recordings of First Nations gatherings taped at the exhibit, and sound recordings of comments by Hamilton on his work.

Robert Davidson exhibit

Sub-series consists of textual records from the one-man show of Northwest Coast First Nations artist Robert Davidson. Records include exhibit correspondence, newspaper articles and a copy of the Canadian Conservation Institute Journal (vol. 3, 1978) that contains an article by Davidson.

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