Toda a cidade de São Francisco do Pará conforme encontrada no dia 12 de janeiro de 2020
Is the handmade authentic and conveys naturalness? Or is it old, a sign of obsolescence? Is the grafitti spray paint young, expressive? Or splashes improvisation and sloppiness? What about digital? Professional, well-finished? Or cold and impersonal?
Or is it that, let’s face it, in today’s semantic orgy none of this makes more sense?
Toda a cidade de São Francisco do Pará conforme encontrada no dia 12 de janeiro de 2020 (The entire city of São Francisco do Pará as found on January 12, 2020) is exactly what its title declares: a common city in Brazil that, on any given day, received the photographic record of all its commercial signs. All. No filter, no snippet. A complete view of a city, without judgment or taste. A portrait of what stories its inhabitants tell themselves, how they tell them.
The apparent neutrality, however, is illusory. Because when unfolding the huge poster that displays, condensed in an intricate mosaic, the entire content of the book, the reader is invited to reflect on issues ranging from the relationship between the visual language and the message it carries, up to how much a portrait from a place in Brazil distant from its economic centers is in fact representative of this place or nothing more than a look focused on what is different there to promptly label it as ”exotic”.
The book, with a Kraft Miolo Paper cover, normally used as a lining in civil construction, and hand-glued stickers, has a format that refers to the old travel maps – small portable volumes that unfold in a large poster. It was published, with a single circulation of 1,000 copies, in 2020 by Ateliê Editorial.