Inês Sapeta Dias

The House Is the Ruin of a House maps a tiny house that has stood for a hundred years at the centre of the mouth of a giant, barely extinct volcano. It speaks of the permanence of this house, but also of its imminent disappearance. It follows the enormous, broad, contradictory, threatening, deafening movements of the earth, the wind, the sea and the weather, and projects a future of extinction onto the present (a landscape that resembles that of a distant past).

Research in the present of a burnt landscape: observation of what exists now, understanding the rubble and remains; discovery of the dead tree’s place in a destroyed land and perception of its immobility.

Atlas of an amateur cinema focuses on films that were made outside of professional networks and, in most cases, for emotional reasons: amateur films and home movies that have been neglected by history and archives, locked away in private places. It includes conversations with Amarante Abramovici, José Manuel Costa, Melissa Rodrigues and Teresa Castro.

The House Is the Ruin of a House maps a tiny house that has stood for a hundred years at the centre of the mouth of a giant, barely extinct volcano. It speaks of the permanence of this house, but also of its imminent disappearance. It follows the enormous, broad, contradictory, threatening, deafening movements of the earth, the wind, the sea and the weather, and projects a future of extinction onto the present (a landscape that resembles that of a distant past).

Research in the present of a burnt landscape: observation of what exists now, understanding the rubble and remains; discovery of the dead tree’s place in a destroyed land and perception of its immobility.

Research in the present of a burnt landscape: observation of what exists now, understanding the rubble and remains; discovery of the dead tree’s place in a destroyed land and perception of its immobility.

Atlas of an amateur cinema focuses on films that were made outside of professional networks and, in most cases, for emotional reasons: amateur films and home movies that have been neglected by history and archives, locked away in private places. It includes conversations with Amarante Abramovici, José Manuel Costa, Melissa Rodrigues and Teresa Castro.