João Cristóvão Leitão

Images from my family archive remind me of a text by Borges. Little by little, I transform Averroes into my grandfather, my grandfather into Borges and Borges into me. In this movement, it becomes increasingly difficult to look at any of them without, too, glimpsing all the others.

Mónica is, potentially, anything. That is why her portraits are born from the juxtaposition of sounds and images taken from the audiovisual archive that is YouTube. Copyright is neglected, the purposes of those who are neglected are usurped, and (im)possible truths are rehearsed. Thus, O Retrato de Mónica does not seek to be an inflexible document—one that informs and certifies—but rather an audiovisual montage capable of suggesting the inevitable multiple identities of things.

Images from my family archive remind me of a text by Borges. Little by little, I transform Averroes into my grandfather, my grandfather into Borges and Borges into me. In this movement, it becomes increasingly difficult to look at any of them without, too, glimpsing all the others.

Images from my family archive remind me of a text by Borges. Little by little, I transform Averroes into my grandfather, my grandfather into Borges and Borges into me. In this movement, it becomes increasingly difficult to look at any of them without, too, glimpsing all the others.

Mónica is, potentially, anything. That is why her portraits are born from the juxtaposition of sounds and images taken from the audiovisual archive that is YouTube. Copyright is neglected, the purposes of those who are neglected are usurped, and (im)possible truths are rehearsed. Thus, O Retrato de Mónica does not seek to be an inflexible document—one that informs and certifies—but rather an audiovisual montage capable of suggesting the inevitable multiple identities of things.