0208 Julião Sarmento

The Photographic as Perversion

  • Bruno Marques (Author)
    Instituto de História da Arte, FCSH, Universidade Nova de Lisboa

    Bruno Marques is a Post-doctoral Fellow at the Institute of Art History, Faculty of Social Sciences and Humanities, Universidade NOVA de Lisboa, Portugal, where he currently coordinates the research group "Photography and Film Studies". In 2017/2018 he was lecturer at FCSH/NOVA (Dept. of History of Art and team member of the PhD program in Art Studies/FCSH/NOVA). Curated several exhibitions, and was the winner of the New Initiative Curators in 2008. Is the author of Mulheres do Século XVIII. Os Retratos (Women of the Eighteenth Century. The Portraits) (2006). He is coordinator of the books Sobre Julião Sarmento (On Julião Sarmento) (Quetzal, 2012) and Arte & Erotismo (Art & Eroticism) (EAC/IH -UNL, 2012, with Margarida Acciaiuoli). Co-organized the international symposium Arte & Erotismo [Art & Eroticism] (FCSH-UNL, 2012), the conference Arte.Crítica.Política [Art.Criticism.Politics] (Goethe-Institut, Lisboa / FCSH-UNL, 2014), the conference Envelhecimento, Espaços Culturais e Arte Contemporânea [Aging, Cultural Spaces and Contemporary Art] (Culturgest, 2016), and the international symposium Portuguese Performance Art (Museu Colecção Berardo, 2016). He published in several journals such as Photographies, Philosophy of Photography, Quintana, MODOS, Revista de História de Arte, Aniki, Cultura, Convocarte.

  • Ivo André Braz (Author)
    Instituto de História da Arte, FCSH, Universidade Nova de Lisboa

    Ivo Braz is a PhD student in Artistic Studies (FCSH/Nova, Lisboa), a FCT-Portugal fellow researcher (PD/BD/114157/2016) and a member of the Institute of Art History (FCSH/Nova). His research project focuses on the relations between revolution, art and politics. He is the author of Pensar a Pintura. Helena Almeida, 1967-1979, Lisbon 2017, “Vasco Araújo et Alli”, in: Revista de História da Arte - Crise – Lisboa: IHA/FCSH, 2015, “O que exatamente torna os museus de hoje tão diferentes, tão atraentes?”, in: Revista Midas, no. 6, 2016, and several other texts on contemporary art published in books, catalogues and specialized journals. Taught the course “Contemporary Art History: Nineteenth and Twentieth Centuries" (Summer School, FCSH /Nova, 2007-2010). Co-curated the following exhibitions: "The Last First Decade" (Ellipse Foundation, Cascais, 2011), "Nadir Afonso: as cidades no homem" (Portuguese Parliament, Lisbon, 2009), "Turn Me On" (Pavilhão 28, Lisbon, 2008), "at/by/for/into/around the house" (Pavilhão 28, Lisbon, 2008) and "Paisagem-Limiar" (SGC, Lisbon, 2007).

Identifiers (Article)


Instead of stabilising the poles of stasis and non-stasis, and narrative and non-narrative, in the 1970s, Julião Sarmento plays within a concomitant scheme: photography and painting, photography and film, stasis and narrative are merged. What is at stake is the possibility of challenging the modernist tenets of photography canonically defined in opposition to painting and cinema. The perversity is not only in the content of some works but also in the very logic underlying the approach to the medium in Sarmento's œuvre, whether through a perversion of the boundaries between the media or by the assertion of the medium itself as perversion. This paper presents a case study that reflects upon the replacement of a structural and negative system with an unsystematic difference (in the sense less of expansion than of the medium's deconstruction). New dimensions concerning the issues of contamination and hybridisation in contemporary art are also brought into play.


Julião Sarmento, photography, painting