“Luminous Shadow” is a short-film born of an artistic residency process, developed in proximity with the collection and the curatorial prism of the International Arts Center José de Guimarães.
Through the manipulation of images and sounds from exhibitions, catalogs and conversations, that took place in the Center’s space, an experimental and mediumistic language is assembled, seeking to establish a recombination of times, contexts and origins.
Sombra Luminosa (2018)
HD video and 16mm transfered to Hd video, 3:2, color, sound, 22’09”, Portugal
Direction/ Photography / Edition / Production
Mariana Caló and Francisco Queimadela
Composition
Pedro André
Sound
Pedro André
Mariana Caló and Francisco Queimadela
Sound Mix/ Mastering
Pedro Augusto
Jonathan Saldanha
Support
Centro Internacional das Artes José de Guimarães
Distribution/ Sales
Portugal Film – Portuguese Film Agency
Cartaz
Pedro Nora
Exhibitions
2018 – Universidade Católica do Porto / curated by Nuno Faria (October)
2020 – Leap of Faith, curated by Miguel Mesquita, Galeria No-No, Lisboa
Screenings/Festivals
2020 – Mostra de Cinema Português, Cineclube do Barreiro (November)
2020 – Biennale Gherdëina, curated by Adam Budak
2019 – IN THE PALACE International Short Film Festival, Varna (September)
2019 – Porto Femme International Film Festival, XX Element, Porto (June)
2019 – Documenta Madrid, International Fugas Competition (May)
2019 – Qamar Cinema in Wadi Al-Qamar, Jordan (April)
2019 – Festival Internacional de Cinema Luso-Brasileiro (April)
2019 – Spectral Film Festival, Stevens Point, USA (April)
2019 – IFFR – Deep Focus, Rotterdam (January)
2018 – Porto/Post/Doc, Porto (December)
2018 – Caminhos do cinema português, Coimbra (November)
2018 – Curta de cinema, Rio de Janeiro (October)
2018 – Curtocircuito Film Festival, Santiago de Compostela (October)
2018 – Projections – New York Film Festival (October)
2018 – 25FPS, Zagreb (September)
2018 – BFMAF short film section Berwick New Cinema (September)
2018 – FID Marseille (July)
2018 – Indie Lisboa (May)
“After their cartography of brain convolutions in “The Mesh and the Circle”, Caló and Queimadela, wander the paths of the artistic thought. The film starts by relating an object to its photograph. From then on we lose ourselves in a labyrinth of representations that operate towards exposure (from the obscure). A re-signifcation of the museum space where unique connections are intertwined with José Gil’s philoshophy. Art as the empire of becoming.”
