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Rasto do papel azul : o arquivo fotográfico de Maria e Emílio Cruz (1950 -1969)
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Este trabalho apresenta uma investigação artística e teórica sobre a fotografia vernacular como dispositivo de memória e de construção de narrativas identitárias. O objetivo central é analisar o arquivo fotográfico familiar da minha avó e do meu tio-avô - Maria Cruz e Emílio Cruz -, situando-o no contexto político e social do Estado Novo e da Guerra Colonial Portuguesa. A problemática foca-se na tensão entre o visível (o documento) e o vivido (a memória mediada pela oralidade), procurando compreender como estas imagens operam enquanto instrumentos de preservação e, simultaneamente, de silenciamento de traumas familiares e coletivos.
A metodologia adotada é híbrida, cruzando o enquadramento teórico com procedimentos práticos de foto-elicitação e catalogação técnica em suporte digital. Foram realizadas entrevistas onde as fotografias serviram de estímulos narrativos para reativar memórias latentes dos protagonistas. No plano técnico, a investigação evoluiu da digitalização para a re-fotografia digital em ambiente doméstico (sobre superfícies como sofás, mesas, chão e vestuário), uma opção estratégica para resgatar tridimensionalidade, a tatilidade e a aura dos objetos originais.
Os resultados materializam-se num grupo selecionado de 33 fotografias e numa série de vídeos documentais contemplativos. Em determinados momentos marcantes, estes vídeos utilizam o ecrã negro durante relatos de trauma – como as feridas e traumas de guerra e perda de familiares – funcionando como um silêncio visual que respeita o indizível e convida o espectador a meditar sobre o que acabou de ouvir.
Conclui-se que o arquivo fotográfico familiar constitui um dispositivo vivo e relacional que permite que diferentes gerações se sentem à mesa para reinterpretar o passado, transformando a memória individual em algo partilhado. A investigação demonstra que o regresso ao arquivo fotográfico privado é um gesto de resistência ao esquecimento, validando a micro-história como ferramenta essencial para confrontar discursos de branqueamento do passado ditatorial português.
This work presents an artistic and theoretical investigation of vernacular photography as a means of preserving memory and constructing narratives of identity. The central objective is to analyse the family photo archive of my grandmother and my great-uncle - Maria Cruz and Emílio Cruz -, situating it within the political and social context of the Estado Novo and the Portuguese Colonial War. The research focuses on the tension between the visible (the document) and the lived experience (memory mediated by oral tradition), seeking to understand how these images function as instruments for both preserving and, simultaneously, silencing family and collective traumas. The methodology adopted is hybrid, combining the theoretical framework with practical procedures of photo-elicitation and technical cataloguing in a digital format. Interviews were conducted in which the photographs served as narrative stimuli to reactivate the protagonists’ latent memories. On a technical level, the research evolved from digitization to digital re-photography in a domestic setting (on surfaces such as sofas, tables, floors, and clothing), a strategic choice to recapture the three-dimensionality, tactility, and aura of the original objects. The results take the form of a curated selection of 33 photographs and a series of contemplative documentary videos. At certain poignant moments, these videos use a black screen during accounts of trauma—such as the wounds and trauma of war and the loss of family members—serving as visual silence that respects the unspeakable and invites the viewer to reflect on what they have just heard. It is concluded that the family photo archive constitutes a living, relational device that allows different generations to sit down together to reinterpret the past, transforming individual memory into something shared. The research demonstrates that returning to the private photo archive is an act of resistance against forgetting, validating microhistory as an essential tool for confronting discourses that seek to whitewash Portugal’s dictatorial past.
This work presents an artistic and theoretical investigation of vernacular photography as a means of preserving memory and constructing narratives of identity. The central objective is to analyse the family photo archive of my grandmother and my great-uncle - Maria Cruz and Emílio Cruz -, situating it within the political and social context of the Estado Novo and the Portuguese Colonial War. The research focuses on the tension between the visible (the document) and the lived experience (memory mediated by oral tradition), seeking to understand how these images function as instruments for both preserving and, simultaneously, silencing family and collective traumas. The methodology adopted is hybrid, combining the theoretical framework with practical procedures of photo-elicitation and technical cataloguing in a digital format. Interviews were conducted in which the photographs served as narrative stimuli to reactivate the protagonists’ latent memories. On a technical level, the research evolved from digitization to digital re-photography in a domestic setting (on surfaces such as sofas, tables, floors, and clothing), a strategic choice to recapture the three-dimensionality, tactility, and aura of the original objects. The results take the form of a curated selection of 33 photographs and a series of contemplative documentary videos. At certain poignant moments, these videos use a black screen during accounts of trauma—such as the wounds and trauma of war and the loss of family members—serving as visual silence that respects the unspeakable and invites the viewer to reflect on what they have just heard. It is concluded that the family photo archive constitutes a living, relational device that allows different generations to sit down together to reinterpret the past, transforming individual memory into something shared. The research demonstrates that returning to the private photo archive is an act of resistance against forgetting, validating microhistory as an essential tool for confronting discourses that seek to whitewash Portugal’s dictatorial past.
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Fotografia vernacular Memória Arquivo fotográfico familiar Estado Novo Guerra Colonial Vernacular photography Memory Family photo archive Colonial war