Caranguejeiras [Crab hunters] is the name of a series made by Maureen in the late 1960s and published on the early 1970s on one of the most important and innovative magazines in Brazil at the time, Revista Realidade, published by Editora Abril. The title refers to women who lived on crab hunting in the mangrove of Livramento, a village 20 km from the capital of Paraíba, a state on northeastern Brazil. Maureen Bisilliat became known throughout an impressive series of photo reportages published in the most relevant Brazilian newspapers and magazines from the 1960s onwards, as well as through several books done together with important Brazilian writers and poets such as, João Guimarães Rosa, João Cabral de Melo Neto and Jorge Amado.
Lily Sverner was born in Antwerp (Belgium). She graduated in Decorative Arts at the National Institute of Arts (RJ) and the School of Photography focus (SP). She interned at the International Center of Photography, New York, in 1985. She devoted herself to a career as a photographer, which led her to perform six individual exhibitions and to have her work included in several collective and prestigious international institutions such as Pirelli-MASP collection, Kusthaus Zurich, Maison Française, New York University Moreira Salles Institute, Fototeca de Cuba, Havana, among others. Published books Fragments of an urban landscape in 1989, Reality Virtues in 1995 and Scraps Gaze in 2009.
Paris, France 1915 - Reguengos de Monsaraz, Portugal 1990. Is considered to have revolutionized and reinvented Brazilian photojournalism. Started his career working for “Vu”, a modern illustrated magazine hiring the best photographers at the time. Arriving in Rio de Janeiro, he first worked for Brazil’s government communication agency. He then joined “O Cruzeiro”, most relevant illustrated magazine at the time. He set up a movie company and in 1956 was awarded a Venice’s Golden Lion for his film “L’Amazone”. He was invited by President Juscelino Kubitschek to photograph Brazil’s new capital, Brasilia. He was head of “Paris-Match” from 1968 to 1972 and worked for Magnum Photos in Paris.
Rusia 1904 - Argentina 1993. The Saderman family was forced to abandone Europe in the 1920’s. Anatole’s father offered him a camara on their way to South America. When they arrived at Montevideo, Saderman met Nicolás Yarovoff, a russian photographer that was to become his teacher. In 1934 he started his Studio in Callao street in Buenos Aires. He was the ilustrator of the book "Maravillas de nuestras plantas indígenas", and made his first solo show in “Amigos del Arte”. He is a founding member of the Asociación de Fotógrafos Profesionales, and of the Foto Club Argentino and the Foto Club Buenos Aires. In 1953 he participated in the group “La Carpeta de los Diez”. In the 80s he was named a Member of Honor of the Foto Club Buenos Aires and recieved a Mention of Merit in photography from the Fundación Konex.
1911 Salvador, Brasil - 2006 Salvador, Brasil. Conducted numerous projects for public institutions at the same time that he developed his original work in Salvador, Bahia, revealing his hometown’s characters, architecture, historical monuments, manners and customs, and the dialogue between art and religion. In the early 1980’s a flood raided his home and damaged about 10,000 negatives. In 2008 the exhibition “Abundant City - unlike Bahia” was held at the Pinacoteca do Estado de São Paulo, showing a set of 120 images produced between 1928 and 1960. The photos always full of calm and tranquility, those are the essence of Voltaires works. Currently his estate has approximately 2,000 images, including negatives and glass plates.
Argentina 1906 - 2012. Son of a wealthy family of Italian immigrants, Coppola began photographing in Buenos Aires at age 20; saw his name be raised to fame for the first time thanks to Jorge Luis Borges: the writer insisted that two photos illustrate the first edition of the book on the Argentine poet Evaristo Carriego. Fond of cinema, Coppola founded with a group of intellectuals the first film club of Buenos Aires; another influence is the work of Le Corbusier, highlighted from a lecture given by the architect in Buenos Aires. In Germany, Coppola practiced with photographer Walter Peterhans at the Bauhaus where he met his future wife, the photographer Grete Stern (1904-1999). In 1936, he returned to Buenos Aires and was commissioned by the mayor to photograph the city on the occasion of its 400 years aniverssary. The work gives birth to the album "Buenos Aires 1936 (Photographic Vision)" a seminal book with 230 photographs of Buenos Aires capital that makes him recognized in his country, and to the short film "Así Nació el Obelisco". Since 1937, he continued his activities in photography as editor, teacher, photographer and theoretician. He exhibited his works among other places in the Museum of Fine Arts in Buenos Aires (NMFA), the Museum of Modern Art of Buenos Aires (MAMBA), the Valencian Institute of Modern Art (IVAM, Valencia) and the Museum of Latin American Art Buenos Aires (MALBA); his works belong to the collection of the Museum of Modern Art in New York (MoMA). Representation in Brazil, in partnership with gallery Jorge Mara - La Ruche (Buenos Aires, AR) who represents the work of photographer Horacio Coppola world-wide.
1949 - Bebedouro, São Paulo. Lives and works in São Paulo. With a style influenced by the performing arts, painting and cinema, Miro created beautiful photographic works in which the use of light is a differential. His almost obsessive search for the image true to his imagination shaped the myth created around his work. In 1973 he went to Paris where he worked with art director Peter Knapp. Already in the 1970’s and 1980’s he became one of the most influential fashion photographers in Brazil. Collaborating with Brazilian Vogue since the beginning of his career, he signed several catalogs and fashion editorials.
b. Buenos Aires, October 11, 1945. Estudied History of Art at the University of Buenos Aires (UBA). Began her carrier by collaborating and studying with her mother, photographer Annemarie Heinrich, joining the studio professionally in 1963. In the following years she studied at the Bayrische Lehranstaldt fur Photographie (Germany) and at he Eastman Kodak-Rochester Photography Center (USA) and between 1957 and 1965 studied classical dancing styles, making her experience with body movement a speciality on Ballet photography.