Num rastro de relâmpago

Since its origin, photography has been considered a place of memoryʺ. This expression, coined in the 1980s by the French historian Pierre Nora, immediately served social scientists from the most varied geographic latitudes. The issue is timely since it is possible to rethink it in light of current photographic works, such as that of Aristides Alves (b.1972, Belo Horizonte) who, by digging into the past, brings to the surface countless layers that make up a possible amalgamation of his life's history. Scanning, speculating, rummaging through, reminiscing, give way to disjunctive and eclectic visual arrangements that become the foundation of the work from the point of view of language.