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Utópica catalogue Paris Photo New York presented with AIPAD

Adenor Gondim! ! ! 02 Celso Brandão! ! ! 04 Carlos Moreira! ! ! 07 Luiz Carlos Felizardo! ! 09

Foto Cine Clube Bandeirante! 18 Alice Kanji! ! ! 23

Arnaldo Florence! ! 27 Barbara Mors! ! ! 19 Dulce Carneiro! ! 20

German Lorca!! ! 15 Tufy Kanji! ! ! 26

_ Click on image description to inquire by email _ PPNY first edition was postponed to the Spring of 2021

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Born in Ruy Barbosa, in the hinterland of the state of Bahia. Despite having a degree in Biology, he chose photography to make a living following the example of his father who had a photographic studio.

Religiosity and syncretism in Bahia were, during the last 40 years, the subjects that led him to build one of the largest and most complete photographic collections on this theme, and alongside that of Pierre Verger, today they represent two important iconographic sources on the history of Bahia, its religions and its people. Adenor has already shown his work in numerous exhibitions in Brazil and abroad and is an essential presence when it comes to talking about religiosity and syncretism in Brazil.

The histories of the town of Cachoeira and the Sisterhood of Our Lady of Good Death are intertwined with the massive slave traffic between Africa and Bahia's sugarcane plantations for three centuries. The Sisterhood differs in that it is formed exclusively by women. >

ADENOR GONDIM

Brazilian, born 1950

Sisterhood of Our Lady of Good Death, Cachoeira, BA, Brazil

1993 Vintage gelatin silver print

13 3/8 x 10 13/16 in

USD 4.000

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ADENOR GONDIM

Saints from the town of Cachoeira, BA, Brazil 1993 Vintage gelatin silver print 13 1/4 x 9 7/16 in

USD 4.000

Pilgrimage of Bom Jesus da Lapa, BA, Brazil 1982 Vintage gelatin silver print 13 1/4 x 9 7/16 in

USD 4.000

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Celso Brandão was born in Maceió, state of Alagoas. He has dedicated himself to photography and cinema for five decades, currently counting more than fifty ethnographic documentaries and having participated in several photographic exhibitions and publications in Brazil, Germany, England, Italy and France.

Especially dedicated to black and white photography, his work presents a poetic look on themes related to everyday life and, above all, to the cultural manifestations of the Northeast of Brazil. He published Memento in 2013, by the Imprensa Oficial Graciliano Ramos, and held an exhibition of the same title as the honored artist by the III University Film Festival of Alagoas (UFAL, Penedo, 2013) and, later, at the House of the National Historic and Artistic Heritage Institute (Iphan, Maceió, 2014). Graduated in Visual Communication from the Federal University of Pernambuco and specialized in Photography as a research instrument in Social Sciences through a program from the Candido Mendes University, he taught photography in the Architecture and Social Communication courses at the Federal University of Alagoas for thirty years.

CELSO BRANDÃO

Brazilian, born 1951

“Bobos”, Carnival masks from the town of Tatuamunha, Alagoas, Brazil 1997 Vintage gelatin silver print 10 7/16 x 8 7/16 in USD 4.000

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“Papangu”, typical Carnival costume from the town of Bezerros, Pernambuco, Brazil 1999 Vintage gelatin silver print 10 1/8 x 8 3/8 in

USD 4.000

CELSO BRANDÃO

“Bobos”, Carnival masks from the town of Tatuamunha, Alagoas, Brazil 1997 Vintage gelatin silver print 10 7/16 x 8 7/16 in USD 4.000

“Papangu”, typical Carnival costume from the town of Bezerros, Pernambuco, Brazil 1999 Vintage gelatin silver print 10 1/8 x 8 3/8 in

USD 4.000

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CELSO BRANDÃO

“Papangu”, typical Carnival costume from the town of Bezerros, Pernambuco, Brazil 1999 Vintage gelatin silver print 9 13/16 x 8 3/16 in

USD 4.000

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Carlos Moreira has, since 1964, the year of his graduation, dedicated himself exclusively to photography. Professor since 1972, the study and teaching of photography have become an extension of his personal work, forming several generations of photographers and photography professors. His first solo exhibition was held in 1973 at the São Paulo Museum of Art (MASP), marked by impeccable enlargements made by the author, a master printer of his own work and one of the masters of Brazilian photography, still little know to the public but famous among amateurs and scholars.

Of shy and quiet personality, Carlos Moreira photographs everything and everyone discreetly, almost imperceptibly, with his Leica camera. Demanding and persistent, he returned continually to the same locations, composing a body of work dedicated passionately to São Paulo, the city he was born, where he lives and works, and his favorite character.

CARLOS MOREIRA

Brazilian, born 1936

Downtown São Paulo 1970s

Vintage gelatin silver print 37,3 x 25 cm

USD 4.000

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CARLOS MOREIRA

Buenos Aires square, São Paulo, Brazil 1970s Vintage gelatin silver print 30 x 40 cm

USD 4.000

Openly influenced by Lee Friedlander and Henri Cartier-Bresson, for more than five decades Carlos Moreira has been traveling the streets looking for images, discovering with his sophisticated eye places and ways that the common viewer does not see and/or that gradually cease to exist.

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Luiz Carlos Felizardo was born in Porto Alegre, in the extreme South of Brazil. He studied Architecture at the Universidade Federal do Rio Grande do Sul, leaving the school before graduation, in 1972, to begin a full time dedication to photography. After working in advertising, industrial and architectural photography, he specialized in the documentation of historical architecture and began to dedicate an important part of his time to his creative work, mostly approaching the landscape.

With a grant from Fulbright Commission (1984/1985), he worked with Frederick Sommer in Prescott, Arizona. Sommer would have a decisive influence on his work; his rigor while using the large format camera and his care in obtaining the finest photographic print reached thus a plateau of excellence. After his period in the United States, where he made some of his most emblematic photos, Felizardo continued his work in Brazil having also collaborated in the press with articles on photography and edited two books that compile his chronicles, Imago and Relógio de Ver.

LUIZ CARLOS FELIZARDO

Brazilian, born 1949

Gran Canyon, Nevada, AZ, USA 1985 Vintage gelatin silver print 8 1/16 x 9 15/16 in

USD 4.000

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LUIZ CARLOS FELIZARDO

The dead are still young, Pomerode, SC, Brazil 1987 Vintage gelatin silver print 7 7/10 × 7 7/10 in

USD 4.000

Antique Store Cherry 1984 Vintage gelatin silver print 8 15/16 x 7 1/16 in

USD 4.000

Spiritual America, Cherry, AZ, USA 1984 Vintage gelatin silver print 4 3/4 x 7 1/8 in

USD 4.000

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LUIZ CARLOS FELIZARDO

Alligator 1984 Vintage gelatin silver print 6 5/16 x 8 1/16 in

USD 4.000

Rocket, the greyhound, Bagé, RS, Brazil 2009

Gelatin silver print 14 3/16 x 9 7/16 in

From an edition of 8

USD 2.000

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LUIZ CARLOS FELIZARDO

Yuca, Sierra Ancha, AZ, USA 1985 Vintage gelatin silver print 12 3/5 × 10 in

USD 4.000

edition available USD 2.000

The curtain closes 1984 Vintage gelatin silver print 7 7/8 x 9 13/16 in

USD 4.000

Dr. Pepper 1984 Vintage gelatin silver print 7 1/16 x 9 7/16 in

USD 4.000

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LUIZ CARLOS FELIZARDO

Old Tucson, AZ, USA 1984 Vintage gelatin silver print 7 1/16 x 9 1/16 in

USD 4.000

Chesterfield 1984 Vintage gelatin silver print 7 7/8 x 9 13/16 in

USD 4.000

Moving 1984 Vintage gelatin silver print 7 1/16 x 9 7/16 in

USD 4.000

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LUIZ CARLOS FELIZARDO

Zabriskie Point, Death Valley, CA, USA 1985 Vintage gelatin silver print 7 1/16 x 9 7/16 in

USD 4.000

Zabriskie Point, Death Valley, CA, USA 1985

Gelatin silver print 11 13/16 x 15 3/4 in From an edition of 8

USD 2.000

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Among his colleagues at the FCCB, German Lorca was one of the few to take photography as a profession; his time at the club was relatively short compared to his career of more than five decades as a professional photographer.

Notwithstanding his intense career as an advertising photographer, one of the first in Brazil, Lorca kept photographing for his pleasure apart from his commissions, doing his own art.

In the course of the three decades that followed his detachment from the Bande i ran te in ea r l y 1950s , he maintained a dark room at his studio in São Paulo. During the Sixties until the mid Seventies, German Lorca did his own printing and from this period are some of his most iconic images.

GERMAN LORCA

Brazilian, born 1922

Rain on the window 1957 Vintage gelatin silver print from 1960 17 15/16 x 14 3/8 in

USD 8.000

edition available USD 4.000

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GERMAN LORCA

German Lorca, now 97, lives in São Paulo where he is most famous and celebrated, having been the subject of many exhibitions over the years, attesting his central place in the history of modern Brazilian photography. His work is featured in all major public and private collections in Brazil and has been recently added to the co l lect ion of MoMA, NYC.

Boys running 1982

Gelatin silver print from 1970s 14 15/16 x 19 1/16 in

USD 8.000

edition available USD 4.000

Castor bean 1960

Vintage gelatin silver print 12 x 18 in

USD 8.000

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GERMAN LORCA

Rascality 1949

Gelatin silver print from 1980s 17 x 15 5/64 in USD 8.000

edition available USD 4.000

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FOTO CINE CLUBE BANDEIRANTE

A RESEARCH ON WOMEN PHOTOGRAPHERS*

In the late 1930s, the photo club scene moved from Rio de Janeiro to São Paulo. In 1939, the Foto Cine Clube Bandeirante (FCCB) opened in the state capital, which, for more than two decades, played a prominent role in amateur photographic production in Brazil. Most of its associates were male, usually ascending liberal professionals, entrepreneurs and industrialists who practiced photography as a hobby. Within the FCCB, men held the leadership positions, acted as jury members of the photo salons, gave lectures, signed the texts published in the monthly newsletter, and were responsible for organizing exchanges with other national and international institutions.

As for the female presence, the main regulars of Foto Cine Clube Bandeirante

were the photographers’ wives, who became members to accompany their husbands in social activities such as photographic excursions, travels, parties and welcoming reunions. In 1946, the Club’s “Women’s Section” was created, which, under the direction of Elza Benedict, brought together, among others, Leda Leme Salvatore, Cesiria Yalenti and Elvira Brescia Palmério, whose surnames leave no doubt as to their marriage ties to known associates.

In recent years, the great interest in FCCB’s production and the larger dissemination of gender studies in photography have led researchers to ponder the presence of women photographers in the Club. The main investigations indicate that women began to systematically act as photographers in FCCB only in the late 1940s, especially

Gertrudes Altschul, Palmira Giró, Alice Kanji and Dulce Carneiro.

*Excerpts from “Ephemeral presences: women photographers at Foto Cine Clube Bandeirante” by Helouise Costa, from the catalog of the exhibition “Three authors of the gentler sex”, published by Galeria Utópica in 2020.

Helouise Costa is a professor and curator of the Museum of Contemporary Art of the University of São Paulo (MAC – USP); author of the first in-depth study on the photographic production of Foto Cine Clube Bandeirante that covers the period from 1939 to 1960.

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Barbara Mors Metallic composition undated

Vintage gelatin silver print 11 5/8 x 9 9/16 in Stamps and labels from Foto Cine Clube Bandeirante and exhibitions on the verso.

USD 4.000

The first woman photographer to appear on FCCB's newsletter was Barbara Mors (1925 - n.d.), who participated in Club's activities from its earliest days.

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In 1951, Dulce Carneiro joined the Foto Cine Clube Bandeirante. Moved by multiple interests, she acted as a photographer, poet and journalist, besides being involved with the fashion world. Literary writing and her contribution as a columnist in the mainstream press brought her closer to critics such as Oswald de Andrade, Sérgio Milliet, Luiz Martins and José Geraldo Vieira, who, at different times, reviewed her poetry. Upon joining the FCCB, Dulce became friends with Alice Kanji, participated in several editions of the International Salon, wrote articles for the Club’s newsletter and inaugurated, in 1956, a section entitled “Survey – Brazilian Intellectuals Respond: Is Photography Art?”.

Dulce canceled her club registration in 1971. At that time, in addition to acting as a well-paid professional, Carneiro also began to dedicate herself to industrial photography, a strenuous and risky work. In the early 1990s, Dulce Carneiro destroyed all the negatives, photographic prints and documents of her trajectory in her power, moving to the city of São Sebastião, on the coast of São Paulo, and living in seclusion until 2018, when she died.

DULCE CARNEIRO

Brazilian, 1929 - 2018

Two glasses undated

Vintage gelatin silver print 14 1/4 x 11 11/16 in

USD 4.000

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DULCE CARNEIRO

Puddle 1950s Vintage gelatin silver print 11 11/16 x 15 1/2 in Stamps from Foto Cine Clube Bandeirante and exhibitions on the verso.

USD 4.000

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The dream c. 1958

Vintage gelatin silver print 15 1/4 x 11 5/8 in

Stamp from Foto Cine Clube Bandeirante and label from an

exhibition on the verso.

USD 4.000

DULCE CARNEIRO

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Alice Kanji, who worked as her husband’s, Tufy Kanji, assistant, joined the Foto Cine Clube Bandeirante in 1951 to accompany him, but her enthusiasm was such that photography turned into an important channel of personal expression. Alice devoted herself to photography for just over three decades, dying in 1992. Her family handles her photographic archive which is represented by Utópica.

ALICE KANJI

Brazilian, 1918 - 1992

Untitled undated

Vintage gelatin silver print 15 1/4 x 11 5/8 in

USD 3.000

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ALICE KANJI

Rascal Boy undated Vintage gelatin silver print 15 11/16 x 10 11/16 in Stamps and labels from Foto Cine Clube Bandeirante and exhibitions on the verso.

USD 3.000

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ALICE KANJI

Two generations year of circulation 1981

Vintage gelatin silver print 15 9/16 x 11 5/16 in

Stamps from Foto Cine Clube Bandeirante and exhibitions on the verso.

USD 3.000

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Tufy Kanji (1906 - 1979)

Thought undated

Vintage gelatin silver print 14 15/16 x 10 5/8 in

Stamps from Foto Cine Clube Bandeirante and exhibitions on

the verso.

USD 4.500

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Arnaldo Florence (1911 - 1987) Looking at the horizon, Alice Kanji c. 1951 Vintage gelatin silver print 15 3/16 x 11 13/16 in Stamps from Foto Cine Clube Bandeirante and exhibitions on the verso.

USD 4.500

Paris Photo NY 202027

Paris Photo NY 2020