“Rising Sun Blues”
Tag : Lisbon
Carla Cascales Alimbau has cast a spell over us with her gorgeous work. In one of her photographic projects Bohemia Lisboa – she presents how she sees the essence and spirit of the city after having lived there for three months. And she certainly manages to capture the playful charme and calmness that this city radiates. You can also admire Carla´s work in the book called One Day Project designed and published by Say What Studios/ Paris.
Photography by Carla Cascales Alimbau
Graphic Design & Illustration
Image by dom o’donnell
Yesterday I had a lovely dinner with friends of my friends from Lisbon. It felt so easy-going, like knowing them for a long time. And what I liked best was that throughout the whole evening no one asked these questions that are usually being asked straight away: ” What do you do for a living? What do you work? Or you study?” For sure what we do workwise is also a big part of life and shows a part of us, tells a part of our lives. But it is not everything that we are and knowing those things straight away, we sometimes can´t help to then put a certain label onto that person. And it is just so nice to get to know someone without that…
Thoughts by Sigrun Guggenberger
“O Principezinho is a lo-fi project of a boy who lives in Lisbon, Portugal. It all began in March of 2009 with a tiny mic, a guitar and a small amp, a melodica and a glockenspiel, with the will to illustrate the beautiful book “Le Petit Prince” of Antoine de Saint-Exupéry. Sounds like: simplicity, innocence, pure feelings and daydreams…” The biography of this project of José Pedro Cardeiro sounds already like a beautiful story itself. And the music is wonderfully touching, enchanting the listener and carrying you off into a save, dreamy world . No wonder that one of his tracks has been chosen for a short film in Puerto Rico – surely not the last time we will hear about Zé Pedro…
Hey dear Zé Pedro - O Principezinho is a project of yours to “put into music” the book “Le Petit Prince” of Antoine de Saint-Exupéry. It is a very inspiring book and it is really wonderful to have some beautiful music to it as well now! How did you go about to put this words into music?
Thank you! The idea came from an indie band from Portugal, that I really love, called “Pinhead Society”, that had in mind releasing a cd + the book with songs based on the story. Unfortunately they have split up before making it, and as it is one of my favorite books ever, I thought that it could be nice to try to illustrate some of the parts of the story that meant a lot to me. It was an exercise of focusing in the little prince’s imaginary and find melodies that suited the feelings and the emotions that I have felt when I read it. And the curious thing about it was that after some time I found myself composing melodies that were not based on the book, but that suited nicely on it. I guess that happened because I really feel related to the feelings and emotions expressed on it, and I still preserve some innocence that is not so common to find in adults.
One of the tracks has been chosen for a short film in Puerto Rico – which one?
It was the track “asteroide b 612″. I was contacted by a Puerto Rican university student currently finishing a project of advanced production. He was searching for a song to his short film, and have chosen that song for the last and more intimate scenes of it. It is a non-profit project approved by the University.
Can you tell us a bit about what the movie will be about?
Sadly, all I know is the synopsis, because the film is still in the edition process. ”A young script writer boy begins to have problems with his best girl friend, imaginary, the day he meets a young rebel girl”
Are you working on music related to any other book at the moment, or do you have plans on doing so?
No, right now I am just focused on this project, but maybe, in a near future, I will think about doing it with another book. It’s a great idea! I once had other project (my first one) that was called nuvens. It was not based on any book, just in my personal experiences. If you want you can hear it here: www.soundcloud.com/analog-days
Your favourite quote out of the book “Le Petit Prince”?
Definitely “One sees clearly only with the heart. What is essential is invisible to the eye.”.
Image and songs by José Pedro Cardeiro
“…a good image is the one that makes you feel something, doesn’t matter what, but has to catch your eye and make you fall in love with it, even if only for 5 seconds.” says Cláudia Baúto and shows us a selection of her images that you may fall in love with…
Tell us a bit about you, where are you from, age and what are you up to?
I’m a 26 years old photography lover from Lisbon, Portugal. I don’t consider myself a photographer yet, I still have a lot to learn and to evolve before I get there. But photography is something that really moves and challenges me, and that I want to take seriously in time.
A good image is?
This question should be easy, and when I think right away I know the answer. But it really depends on the photo’s propose. A photojournalism image has a different goal than a fashion one, so what makes a good image in the first case, surely it doesn’t make a good shot on the second one. It’s kinda like music and its different genres. But overall, I would say that a good image is the one that makes you feel something, doesn’t matter what, but has to catch your eye and make you fall in love with it, even if only for 5 seconds.
What is your inspiration?
My biggest inspiration comes from music. I usually tend to create video-clips in my head when I listen to music, especially on the bus, ahah. So that’s what I do, when I create images with a concept, I try to carry the music to the photograph. And also along with it, because I can’t dissociate one thing from the other, I’m inspired by fashion editorials (which I love), emotions, people, nature (there’s nothing like outdoor shooting) and other photographers/artists.
Which camera/ equipment do you use?
I shoot mostly with a digital camera, Canon 450D with a 50mm/1.8 lens. When it comes to film I just love my Canon IXUS Z70.
Why does the human want to capture things that he can anyway see with his eyes?
Once again we have to think on what context an image is taken. If we take the example of family-friends-personal photographs I think deep down it’s a memory matter; you want to have a proof that moment really happened, because we all know that memory is going to betray us one day, and so an image is a memory helper, you can look at and remember almost everything of that moment. Other times it’s simply because we see something we find beautiful, funny, unusual that probably won’t see again and want to keep that image “in mind”. But photography is also a form of communication/information and a great one. It’s because of the human want to capture and document things that we are aware of what’s going on around the world. And an image sometimes is way more powerful than words, we all know that.
5 things you cannot live without?
Love in all its forms, friends, family, music and sleeping.
The best life lesson so far?
Life most of the time is not only black or white; there are a lot of grey shades in between. And sooner you get this, sooner you have less drama in your life.
8- 11 March 2012, Lisbon
Between the 8th and the 11th March, (a great deal of) Lisboners forgot the crisis and presented beauty at Lisbon Fashion Week, Moda Lisboa’s 38th edition, with prospects for the next autumn/winter collection. Under the theme “Freedom”, the designers have presented their creativity in collections that promise a lot of cheerfulness and sensuality.
The second day of Lisbon Fashion Week revealed a host of new trends and the creativity of designers surprised the audience.
Katty Xiomara, Portuguese-Venezuelan designer with a very coherent 16 years long career presented her collection on the second day of Lisbon Fashion Week in an unexpected space: a bank. Despite the lightning, the space itself is interesting because of its oddness and the transformation of a quotidian non-space into a catwalk. She feasted originality with a very unusual entrance. Starting with what the audience would expect to be the end (models entered and left together on the catwalk, the music stopped and the lights went out) the designer managed to surprise with glamour, sweetness and bits and pieces of magic. After the initial moments, the models returned one by one dressed in the enchanting collection by Katty Xiomara. In addition to basic black and gray, blue, pale pink, nude and purple tones made all the difference in the collection, giving lightness and femininity to the look. The colorful details in the collars, bars, printed and flowered laces, shoulders and wrists gave extra charm to spare. With the exception of glasses painted on the models faces, the makeup was very light, just eyeliner, long lashes, coral lipstick and peach blush.
After Katty Xiomara, we entered another space of Moda Lisboa, a bigger space, which would have been more appropriate for Xiomara. The grand entrance of Dino Alves with projections creating patterns (or should I say creating stories instead?) was only the prelude to his enthusiastic collection. The beginning was the best part by far: one model stepped a big plinth wearing a white dress. Slowly, birds projected onto it inhabited the dress creating a multiplicity of possible stories. The goal of the designer was to play with shadows and what they can reveal more than hiding. The contrast between stamped or saturated colored parts and the simple and neutral colors was the major point of his collection. Besides the many prints, gigantic pieces mixed with fitted ones, asymmetry and many cuts helped to compose a lengthened silhouette, creating severe and smooth pieces in the collection. Another highlight was the use of color: red, gold, blue gray, gradients and prints. The use of transparent fabric and overlaps as well as the oriental inspiration remain in this collection.
As a non-fashion designer what stroke my attention, above all, was the audience. People dressed up for the event in a very non-Lisbon way, almost as if London had came to (a small part of the) town for a couple of days. Despite my opinion on what is or isn’t coherent with the times we live, I have to say it’s truly fun and inspiring to see how an event can change people – even if a very small amount of people for a short time.
So what did the ModaLisboa offer to us this year? We introduce you to one of the brands today: Saymyname. It is a Portuguese brand created by the fashion designer Catarina Sequeira. Her Autumn / Winter 2012-13 collection was inspired by Samurai- the noble warriors from the Japanese aristocracy. In our opinion this is a great source of inspiration and Saymyname has done an amazing job with the realization of it. Very strong show!
We are surrounded by so much graphic design in all parts of our lives, that sometimes we don´t even notice it consciously anymore. I am always fascinated by the designer´s creative translation and creation of new shapes and expressions. So today we are presenting Maria Teresa Cabral, a young artist from Portugal currently studying Graphic Design…
“Graphic design is a creative process—most often involving a client and a designer and usually completed in conjunction with producers of form (i.e., printers, signmakers, etc.)—undertaken in order to convey a specific message (or messages) to a targeted audience.”
What is a good graphic designer?
I think that a good graphic designer is someone that can do something with passion but keeps in mind that he has a client. So, whatever it is that he is creating has guidelines that need to be followed. Basically a good designer, needs to be able to combine his ideas with something that is usable. I mean, if you are an „artist“ (whatever that is) you can create whatever you want and it’s art, it’s your work. As a designer you have to be able to create something that you and your client both love.
Your latest work is called „Futura“. What is the meaning behind this project- or is it purely “playing with the graphics”?
It’s a project that started as a poster for the typeface Futura. Then it developed into a sort of Fanzine where I played with the idea behind Futura – a typeface created based on simple geometric shapes. I tried to do the opposite and create new shapes based on the typeface.
What are the things that inspire you most, workwise and for your life?
Everything, really. I try to see/hear/know as much as possible. My brain then does the crazy associations needed, et voila, inspiration is born. It can come from anything like a song, a really good (or bad) movie or even a typeface!
Where do you see yourself in 5 years?
That’s really hard to say, I’m still trying to find out what I want to do with my life. But if everything goes according to what I’ve planned so far (which usually does not happen), I’ll be studying/working in Berlin.
5 things you cannot live without?
Family, friends, art, music & (some) rules.
Interview by Sigrun Guggenberger
José Pedro Cardeiro is a photographer from Lisbon, Portugal that managed to catch my attention with his beautiful, expressive images, where each photograph tells a very detailed story, a moment, a feeling. Photography that is enchanting. I had the pleasure to ask him about what photography means to him, what the perfect picture is to him and what his inspiration is…
Your images show that you have a great eye for details and beautiful moments! What does photography mean to you?
Thank very much for the compliments! For me photography is a way of expressing emotions and feelings, the capture of a moment, which, at first sight, looks ephemeral but, by freezing it in time and space, becomes eternal. I see it like a constant exercise of holding time (for example just like the beautiful slow motions in Tom Ford’s film “A Single Man”), like capturing those precious moments of our lives that sometimes we tend to miss. I only realised the importance that photography had to me when I lost my analog cameras in Paris. I felt really sad. It was really strange because I felt that I had almost lost someone really close. And then I realised how much photography was part of my life, like an extension of my soul, a way of expressing myself and document and capture the beautiful moments that I had the opportunity to see and live.
Are you always walking around “armed” with your camera, seeing great motives everywhere?
Sometimes I take my camera wherever I go, and sometimes I stay away from cameras for months. There are times when I take my camera with the purpose to document a walk in a special place and others where I just take it to capture little and beautiful details of the routine. For me, it is a question of phases where you have the drive or not to take pictures. I feel that inspiration is the most important thing. There are times when you don’t have inspiration, and I have came to the conclusion that it’s no good to force yourself doing a thing that doesn’t feels natural to you at that time.
What is the perfect picture for you?
The picture where I can see things that are not there, and that you can only see by looking closely with time and care, like the feeling that was felt at that moment, the connection between people, the mood, the personality of strangers… Some months ago, I had the opportunity to get to know a lovely young Portuguese family that live in Amsterdam and that I follow for some years. I only knew them by their design work, their photos on flickr and the e-mails we sent. And it is incredible to see that all the things I imagined only by looking at their photos (the voices, the personality, the posture, the tenderness, the serenity…) were real and matched precisely with my perceptions. For me photographs are perfect when they have this power.
What or who inspires you?
The things that inspire me the most are: true love, music, cinema, feelings and emotions, beautiful people, pure hearts, true smiles and ways of dressing.
Are you self-taught or do you have any photography related education?
I am self-taught. I began taking photos more seriously back in 2004, when my father bought a digital camera with some manual control over speed and aperture. At that time I used the camera every time I could and began experimenting things all by myself and at the same time I searched on the internet for the information I needed, and talked about photography with my brother and my father who had some notions of it. In that year I felt the need to explore the analog process, as it was the way that made more sense to me when capturing things (it helps you plan more carefully what to capture, the composition, the light…). And so I bought a simple camera which at that time it was the best I could afford – a lomo colorsplash. As it was a really simple camera with only two modes (an instant mode and a bulb mode) it helped me to meter light by the eye. In September 2007 my grandmother offered me a SLR camera, a Nikon FE. I guess that was the moment when I began to dedicate more time and care to photography, as with that camera I could have more control over speed, aperture and light.
Do you think it is important which camera to use – or with talent one can do great images no matter what equipment?
I think it is a compromise between the two. In my opinion if you aren’t open to what photography embraces, even if you have the best camera available, you will not be able to take a decent image. On the other hand, if you have the passion, the sensibility and the eye to look around you carefully you can take beautiful photos even with a hand-made pinhole. Of course equipment take an important role on the process, but I think it just adds some detail and life to the picture, because the idea and the composition are there either way (not counting with taking photos with crappy cameras).
You have your own online store where people can buy your images as prints – your store is called Beautiful Sadness- how come?
The name “Beautiful Sadness” came from the name of an official bootleg from a very special Spanish indie band called Onion. I think it suits the feelings of my photos like a glove, as I consider most of my images have a sense of melancholy. There is a very special beauty in sadness and there are few people who can see it. I know few people who allow themselves to feel sad, and consequently be honest with them.
Where do you see yourself in 5 years?
I see myself being even more honest with myself, dedicating my time with people whom I feel identified with and with whom I feel it makes more sense. Afterwards the time you dedicate to a person determines the importance that her/him have to you and the kind of connection you establish. I would like to see myself doing creative things like making music, taking photos and drawing, as well as doing some personal projects like having a store, organizing concerts, creating a clothes brand…
The most important thing in life is…?
Love. I mean true love and not the fake feeling (something buyable, conditional and based in short-term pleasure…) the media and society bomb us everyday. Like Antoine de Saint-Exupéry wrote on his book The Little Prince “One sees clearly only with the heart. What is essential is invisible to the eye.”, and this is one thing very few people understand. True love allows you to do things you didn’t know that were possible.
Thank you for this wonderful opportunity of sharing my way of feeling photography and love/life.
Interview by Sigrun Guggenberger
The contemporary art as a Trojan horse in a mass society.
At the beginning of 20th century, art has entered into an era of mass production. In the 21st century the situation has changed and there are two developments that led to this change: the emergence of the technological resources for production and the change of the understanding of what art might be.
Nowadays, we identify art as the manual object produced by an individual. During the 19th century painting and sculpture were seen as extensions of the artist’s body, citing his presence even after his death. In this sense, the work of the artist was not seen as something alienated, which is a contrast with industrial production that does not establish any links between the body of the person who produces and the product itself. Since Duchamp and his use of ready-made this view has changed drastically. The main change is not as related to the presentation of objects produced industrially that are seen as art work but with the possibility that it was open to artists able to produce work in a way almost industrial and also the power to take this characteristic as media.
In modern societies the great majority of objects used by people in daily lives are mass-produced: these objects are the expression of strategies of designers, producers and advertisers. People build their worlds and their identities on this readiness using different tactics: bricolage, assembly, personalization, and remix, a mixture of everything that is seen in a kind of attempt of absolute imitation. People rarely wear all items of clothing from a single designer as it has been in a fashion show or certainly more often, on television. Individuals mix and try to combine haute couture with parts produced in mass. Another example of remix: a Philip Stark’s juice extractor and a Chinese jar side by side in a store window. The same applies to how people build their lifestyles: lunch at the closest McDonalds and then go to the Bairro Alto Hotel’s terrace and have a coffee after dinner.
Created and developed by P28 with guest curator Luisa Santos, “Outdoor” aims to adopt an unconventional format in the contemporary public art manifested in the manipulation of advertising media. This conceptual solution embodies the need to rehabilitate and renew spaces used for advertising without the loss of identity or transformation of its form, aiming a reorientation of priorities in its genesis.
Artists: Adriana Varejão [BR], Bedwyr Williams [UK], Chitra Ganesh [US], Erwin Wurm [AU], Gabriela Albergaria [PT], Jesper Just [DK], Jorge Molder [PT], Leonid Tishkov [RU], Luisa Cunha [PT], Marcel van Eeden [NL], Mário Feliciano [PT], Miguel Palma [PT], Paulo Mendes [PT], Pedro Cabral Santo [PT], Pedro Cabrita Reis [PT], R2 Design [PT], Susana Anágua [PT], Susanne Themlitz [PT]
28 Fev > 31 Mar 2012
28th Feb > 31st Mar 2012
01 Ago > 31 Ago 2012
1st Aug > 31st Aug 2012
Curadora convidada / Guest curator
Text by Luísa Santos
Everything is becoming faster, trends are rapidly disappearing as fast as they appeared and the flow of information and pictures increases more and more. Therefore to see the time as something more relative, perhaps even discovering the beauty of slowness exerts a great fascination. Rodrigo Vila has implemented a photo-series whose idea it was not only to capture a fraction of a moment or a scene. Instead he has worked with a pinhole camera and a succession of many pictures during a tour of Lisbon to represent a different time period. We asked Rodrigo a few questions about his work.
Wir leben in einer Zeit wo alles immer schnelllebiger wird, Trends rasant kommen und genauso flott wieder verschwinden und die Flut an Informationen und Bildern immer mehr zunimmt. Die Zeit als etwas Relatives zu sehen, vielleicht sogar auch die Entdeckung der Langsamkeit übt daher eine grosse Faszination aus. Rodrigo Vila hat eine Photo-Serie umgesetzt deren Idee es war nicht nur einen Bruchteil eines Momentes oder einer Szene darzustellen. Vielmehr hat er versucht mit einer pinhole Kamera und einer Aneinanderreihung von vielen Bildern während einer Tour durch Lissabon eine andere Zeitspanne darzustellen. Wir haben Rodrigo zum “6 questions” Interview gebeten.
What’s the most fascinating thing about photography for you?
The ability to capture a very personal way to see the world.
Who or what inspires you?
The city with all the people, history and fragmented pieces of different times that in the end became the city itself.
Tell us the story behind the “Invented Lisbon” serie:
The fragmented images speak of the impossibility to apprehend the city in its totality and with an only center.
The city became different cities where we can find our very own city.
All the images portray not a stopped moment in time but a small trace of my own city inside Lisbon and also portray the absent expressions of the habitants of a after-modern city.
Which camera do you use?
In this case I used a pinhole camera.
Where do you see yourself in 5 years?
I see myself with my bag fulfilled with even more images and feelings that make my world even bigger.
The most important thing in life?
I would like to begin by saying I first met Débora Rodrigues three years ago and became a huge fan not only of her work but also her curiosity and strong will to make things at all times. It’s with a great pleasure that I ask her a few questions about her work.
How did you first get into photography?
Photography was always present in my life. My dad’s a photojournalist and my mother used to teach photography back in the 90’s. I remember that my first contact with it (as a “shooter”) was when I was around nine years old and my dad lent me one of his analog cameras to photograph class trips and special events. I used it for years just for those purposes so I didn’t make a special deal out of it. But when I was fifteen I bought my first digital camera and I was free to take it wherever and whenever I wished, to shoot as much as I could, and I’ve been doing it so ever since.
Do your goals include earning a living from photography, whether as an editor, photographer / artist?
Your work has, so far, spanned the transition from film to digital. What do you consider the biggest advantages of shooting with a digital camera over a film camera?
Unfortunately, my professional work has taken that path. It’s a faster way to work, you can view the images right after you shoot them, you can send them the day after to your client and you can even now edit them on your camera. But with analog/film you can get results that digital will never replace. I’m not talking about the “analog effect” that you can easily make on Photoshop (look at Instagram right now, it’s everywhere!) but I’m talking about the process of making a photograph, the learning how to read the light without a light meter, to understand how and why that color or b/w film reacts to an environment in a specific way. The film has too many details and it requires a certain care and time for it that most people don’t have (or don’t care to have). Of course I cannot ignore that we live in a digital era and that it’s a cheaper and easier way to work, but I’ll try to use film for as long as I can.
When it comes to black-and-white photography, what (if any) are some of the best things (and here I mean in terms of conceptual outcomes) about the b/w as opposed to the colour?
I don’t think there’s a better one, they’re just different from each other. My process of building concepts comes from making images and rarely the other way around. I shoot daily, I develop a concept and I shoot again specifically for that concept. The process of choosing the b/w or colour comes from not only the concept itself but also from the esthetic of the image. It’s very important that they can work together.
You have an impressive body of work considering how young you are. From performances (Theater, Dance, Music) to Street Photography with a strong reportage look and photographs of places where the mixture with nature and people are very subtle, I see a lot of themes and the common thing to all seem to be a rigorous composition (like the ones from the Düsseldorf Academy in the 1970s – Bechers, Thomas Demand, Andreas Gursky, Candida Hoefer). If you could choose to specialize in one of these themes, which one would you go for?
First of all, I am flattered by the fact that my composition was just compared to the Bechers, Thomas Demand, Andreas Gursky and Candida Hoefer’s composition! Second of all, this is a really tricky question to answer. I would definitely like to work more with theater but I have a special connection with dance. I worked for about four months with the Art!st Dance Academy back in 2009 and I just loved the experience. The fact that you can see the improvement of the dancers in your images and that you too improve with them it’s a very special feeling. But right now I’m exploring any kind of performances, so I can’t choose one. I still have a lot to explore and learn.
Who are the artists who influence you most in your work?
They’re just too many! And now with the Internet and blogging phenomenon I see new works almost everyday. I think I’d rather to name a few projects I came across this year that somehow inspired me. So, here it goes: Richard Nicholson – The Last One Out; Adam Magyar – Stainless; Kevin Bauman – 100 Abandoned Houses; John Cyr – Developer Trays; Petros Kotzabasis – In The Streets; Patrick Joust – Nocturnal and Mario Giacomelli’s photography. Also, I recommend the selection of 500 Photographers by Pieter Wisse.
Recently, you’ve been developing photography books. Do you relate these projects to the recent interest (or, better, re-interest as this is a tradition which was somehow lost and now regained force) in the production of artist books? How do you intend to publish them?
Artist books have been produced for a very long time now, I just didn’t know about them. So, I’ve been learning and exploring how they can be used as a medium and the more I seek the more I see myself working with it. It just matched to the “how” and “what” I wanted to show with specific images and projects. Plus, I’m a bit tired of images on the wall of museums/galleries, except if they’re huge or extremely small.
About the publishing part, I have no idea yet. I’ve done a few ones for university projects and some prototypes, but for now I make them myself. I guess once I get a reasonable body of work I’ll think about a more “serious” publishing method, but I definitely want them to be hand made.
Could you share a favorite recent image and tell us a little of the story behind it?
I’ve been literally hooked to all the images of the Cubes for Albers and LeWitt by Jessica Eaton! A friend of mine sent me her work, and once I started to read, observe and understand her working process, I was just blown away. I think that every experimentalist photographer should see her work.
All images © Débora Rodrigues
Interview by Luisa Santos
Can you imagine a world without music? “Not really, can you?“ says José Miguel aka Voodoo from Lisbon. Well, we cannot either. What´s better than music that makes you get up and dance and fills you with happiness and energy or makes you drift away…
I have tuned into his online radio show Snow Globe quite a few times already, where he plays many great and and also unreleased, exclusive tracks from worldwide artists, and I can tell you- I was dancing in my room! We are happy to have José for an interview and while reading it – please enjoy the very special #6 C-Heads Podcast by Voodoo.
Some general, basic things – who are you, where do you come from and what’s your main profession/job?
So, my name is José Miguel, I’m from Lisbon and have no idea where I’m going. My main activity is related to media and content production, and I have been working as a freelancer for the last couple of years.
How did you get into music – and at what age? What is the story behind? And do you have any related education to it?
I’m into music since I was old enough to understand it, I guess… There was a maestro and a opera singer in my family, but I don’t think it had a direct influence on me. Unfortunately, I had no musical education apart from what we learn in public school, so I don’t think there’s a story behind it. I was mainly into alternative sounds during the eighties, but when techno and club culture came up in the early Nineties I thought “this is it!”.
Did you ever do – let’s say – classical music or any other kind of music?
Nope, but I do enjoy jazz a lot.
Where does the name DJ Voodoo come from – and why did you choose it?
My grandmother was a wizard and a witch and… No, actually it was a nickname I had since many years before I started Djing, and it came from Jimi Hendrix’s “Voodoo Chile”. When I began to spin records, people just put that on the flyers so I really didn’t choose a name. Voodoo wouldn’t be my choice, for sure :)
Techno Music – if you describe this music to somebody (who has never heard this kind of music) – what would you say?
Well, actually I don’t try to because I don’t think it’s possible. I see Techno as part of a culture, and being a very specific one- I believe there’s no way to really explain the whole thing. You only get it if you go there…
Is it important for you, if people like your work – or what they are saying about? Does it influence what you’re doing?
All the feedback I get is of the most importance, and I appreciate it the most, of course, but I try to follow my own instincts in every move.
Before a gig/event – are you nervous?
No! I just want to do it! I love it!
What has been your greatest success so far?
Everytime I play in front of an enthusiastic crowd that reacts to the music I feel complete as a DJ. Playing in the morning at the closing of Kubik Lisboa back in 2007 was in many ways a very special gig.
The music-scene in portugal… you play in different countries – is there a difference between the countries?
There are some, but the main one I think has to do with the size of the market. The club scene in Portugal is small, I feel that things are way stronger in other countries.
Yes. So do you think this will change in the nearer future? Or what should be done to increase the size of the market?
Well, as you can see everyday in the news, there’s a very harsh economic situation in Portugal, as well as many other european countries. The club scene and night life in general reflect that. I don’t think things will get better in the next 5 or 10 years, so I really don’t know how things will evolve.
You also travel a lot – do you enjoy it?
Yes, a lot in fact, expanding the horizon is healthy.
You already played a lot of times in Vienna, and you act at famous Flex Club once every year. What makes Vienna special?
The beautiful people and the very lively night scene, and of course, Naschmarkt and Schnitzel!
What can we expect from you in the next years? Is there any “master-plan”?
There is no “master-plan”, but I’m working on expanding my Snow globe concept to higher and different levels – it has been amazing so far – and of course, to play as much as possible with my techno set.
“Snow Globe” is a really cool project of you. Live Streaming from different places – like f.e. you already had a painter behind you, huge vidowalls and once you got a new haircut while playing your set! What is still in your mind what you want to do?
The next 3 or 4 programs are already planned, they will be even more out-of-the box shows, but surprise is a key element. Public sessions are the next step, I’m already in contact with some locations and artists to expand the streams to a wider concept next year. Tuesdays will never be boring again. Meanwhile, stay tuned for the xmas edition on December the 20th.
Is there any funny story behind we did NOT see in the video? Ej? ;)
Not really eheh, apart from the fact that once or twice I had no idea of what the concept would be just 12 hours before the stream. On one occasion I had a small crowd dancing behind the camera ;) and on another one I was really ill, with high fevers.
You did a very special Podcast for us. What´s the story behind?
The main concept was not to do “just” a mix, so I researched a lot of ambient sounds from Lisbon to add flavour to the piece, f.e. I made a loop out of the music a blind guy makes on the Lisbon subway since years, he is already famous; or the flute of the “amolador” (grinder) – these guys go around town with a bike that has a mechanism to sharpen scissors and knives. They play this flute to call the costumers, and some people say they bring the rain with them. I also added a lot of samples(more than 30 songs on the tracklist, in whole or just bits), I re-edited or looped some of them, so it’s the first time I make a work that involves more than just mixing tracks. Voices from myself and friends also are included, and I produced my first music ever to include here, so that makes this podcast special, at least for me.
Can you imagine a world without music?
Not really, can you?
5 things you cannot live without?
Music, social life, the sea, the people that are closest to me and coffee!
The best life lesson so far was?
We should always reach for what we really want.
Last question – What’s the best place to be in Portugal to go out?
Lisbon, for sure, it’s a great city in many ways.
Interview by Christine & Sigrun Guggenberger & Emanuel Sprosec
photos by Pedro Reis and Nuno Santos