> Transforming Memories

> The Infermal Machine

Studied Architecture at FAUP (Faculdade de Arquitectura da Universidade do Porto) since 2006, when his interest in photography and architecture began. He collaborated with CCRE, and organized the first and second cycle of "A Fotografia na Arquitectura" (The Photography in Architecture) in 2008 and 2009, and the FAUP Architectural Photography Award in 2009. In 2010 he was part of the team that organized the International Seminar "On the Surface - Architecture and Public Space Images under debate". He collaborates with several magazines and participates in various exhibitions. Currently he takes part on the collective XYZ Books and co-founded A Ilha in 2014.

In 2012 he won the Bes Revelação Photography Award and an Honorable Mention at Novos Talentos Fnac Fotografia, and in 2014 his work was mentioned for the best work selection at Plat(t)form - Fotomuseum Winterthur. Represented by Galeria das Salgadeiras (Lisbon). Based in Lisbon and Porto.

Tiago's work, generally, is mainly focused on a set of aesthetics and artistic forms that are used depending on the specific theme or story that he want to tell, and also in concepts like Nostalgia, Memory and Destruction.


“Pedra da Calçada” is the traditional Portuguese stone used for street pavement, with which it is possible to create an infinite number of designs and drawings on the ground. If, on the one hand the use of the “calçada portuguesa” 

is a topic of discussion for the relationship between tradition and utility, on the other hand it symbolically assumes the metaphor of the political struggle. In several occasions it has been used as a throwing weapon in demonstrations in front of the Parliament.


The presented print, made with a very unique technic explored by Casanova, pretends to amplify the symbolic power of the stone, as if we can actually get power with our own traditions.



“An image is only an image for those who have no memory”

wrote my friend Pedro Jordão on Facebook, a sentence that perfectly

resume my current research around memory and archive, and the binomial reality/fiction, where I have been questioning, for example, the role of photography as an alternative memory process, how people archive these memories and the difference between the interpretation of a memory by its own producer or by other independent viewers.The object created results from a three-dimensional deconstruction of the portrait of Wenko Wenkoff, a Bulgarian opera singer that lived in Austria and performed at Vienna Staatsoper and Volksoper in the 40’s and 50’s.

The photograph, bought in a Vienna flea market, is one of hundreds of prints made at the time to promote the singer and the opera house. Today, the singer is practically unknown among Austrian society, but his images still circulate although under a certain level of anonymity. I am interested on how an image, any image, may represent so much for a certain group of people or in a certain time, and then mean nothing to someone else or in a totally different era. We in fact create an idea, a fictional idea, of this person especially when we don’t know who this person is, and we keep doing it even after we know something about him. A photograph can only mean reality for the person who lived the captured moment, as for the rest it is always fiction. This deconstruction intends to provoke a metaphor on how we never see the entire content of an image, as it always represent a fiction and never concrete reality.