Fernández, The Latin American Photobook 83. – First and only edition. – „In Doorway to Brasilia, Aloísio Magalhães and Eugene Feldman showed projection, construction, the future. Brazil was the country of the future, and Brasilia the future capitol of the country of the future. What were images of the future like? A superfluous question for Peter Scheier, the photographer chosen to demonstrate that the „rehearsal for utopia,’ Brasilia, was fulfilled… the day after its official inauguration. Starting with its very title, Brasília vive! (Brasilia Lives! ) was designed to convince skeptics of Brasilia’s significance through major images, and as few words as possible. A third of the photos show Niemeyer’s palaces finished, and Lucio Costa’s avenues open. As always, the architecture is photogenic, but that is not enough. „If they did a full-length portrait of me in Brasilia, when the photo was developed all you would see is landscape,“ wrote Clarice Lispector. In Brasilia, the architectural landscape is so monumental that people disappear. Peter Scheier dedicated the rest of the images to revealing the life of the new city. … People are more than just a reference to show the scale in an image; through them, the inside looks out and the pulse of life can be perceived. „The craters of the moon are in Brasilia. The beauty of Brasilia is its invisible statues.“ Thus concluded Clarice Lispector’s 1962 article about Brasilia“ (Horacio Fernández). – The metal ring binding in the lower third is missing; otherwise in very good condition.

Schlagwörter: Architectural photography, Architecture, Architektur, Architekturfotografie, Architekturphotographie, Brasilia, Brasilien, Brazil

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