{"id":17007,"date":"2025-04-15T14:38:09","date_gmt":"2025-04-15T14:38:09","guid":{"rendered":"https:\/\/www.ipleiria.pt\/esadcr-en\/?p=17007"},"modified":"2025-05-22T15:01:30","modified_gmt":"2025-05-22T15:01:30","slug":"artistic-residencies-documentary-cinema-2","status":"publish","type":"post","link":"https:\/\/www.ipleiria.pt\/esadcr-en\/2025\/04\/15\/artistic-residencies-documentary-cinema-2\/","title":{"rendered":"Artistic Residencies – DOCUMENTARY CINEMA"},"content":{"rendered":"\n
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DOCUMENTARY CINEMA
The Road<\/em><\/h2>\n\n\n\n

Luciana Fina<\/h3>\n\n\n\n

ARTISTIC RESIDENCIES  OF THE MASTER’S PROGRAMME IN ARTS OF SOUND AND IMAGE_ESAD.CR <\/strong> IN PARTNERSHIP WITH THE CULTURAL ASSOCIATION OSSO_4TH EDITION_202<\/strong>5
12 TO 16 MAY, 2025
OSSO FACILITIES IN THE VILLAGE OF S. GREG\u00d3RIO, CALDAS DA RAINHA<\/h4>\n\n\n\n

Seguita la vita come prima
con gente in piedi, seduta,
e che cammina.<\/em><\/p>\n\n\n\n

Life goes on as before
with people standing, sitting,
and walking.<\/em><\/p>\n\n\n\n

\u2014 Patrizia Cavalli
“Le mie poesie non cambieranno il mondo”, 1972<\/em><\/p>\n\n\n\n

The road runs along the village, between two valleys.
On either side, the houses shelter the visions of the inhabitants,
exposing the time and manner in which they arrived here.
Facades and houses are distributed along both margins; the line of the road separates and unites.
A place of passage and encounter. A mirror, an opening or a boundary, at the doorstep.
Continuity and rupture, trace or project of an inhabited centre.
It opens the possibility for a geography, a cartography, a path or a crossing.
Once, along the road, people were seen talking, walking, and whistling.<\/p>\n\n\n\n

Luciana Fina<\/strong><\/strong> is an Italian filmmaker and artist who has been working in Lisbon since 1991. Investigating the possibilities of cinema within the field of the arts, she has developed work for cinema theatres, stages, museums, and galleries. After studying Romance Literatures, she began a long collaboration with the Portuguese Cinematheque as a programmer.
In 1993, she created her first Super 8 stage installation, Branco Sujo<\/em>, choreographed by Jo\u00e3o Fiadeiro. She debuted as a filmmaker in 1998, joining a generation of filmmakers who revitalized documentary filmmaking in Portugal.
Between 2002 and 2003, with the installation CCM<\/em> at the Calouste Gulbenkian Foundation and the triptych CHANTportraits<\/em> at the Chiado Museum, she began a trajectory in exhibition spaces, focusing on themes of migration and portraiture.
Her extensive body of work\u2014including films, film installations, and site-specific projects\u2014has been internationally presented at film festivals and exhibitions. Her works are part of collections such as the Calouste Gulbenkian Museum, the New Media Collection of the Centre Georges Pompidou, the Museum of Neo-Realism, and the State Contemporary Art Collection (CACE).
She was a guest lecturer at Ar.Co, teaching History(ies) of Cinema<\/em> from 2017 to 2023. She is a researcher in Moving Image Arts and collaborates with the Centre for Research and Studies in Fine Arts (CIEBA), Faculty of Fine Arts, University of Lisbon.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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