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Born in Portugal of Angolan ascendance, Tatiana Macedo grew up and studied in Lisbon and London (MA Visual Anthropology FCSH, Univ. Nova de Lisboa and BA Fine Arts, Central St. Martins College of Art & Design). Macedo works across mediums such as installation, photography, cinema, sound and their expanded forms. Her debut film was entirely shot at Tate Britain and Tate Modern and in 2015 she was the first winner of the Sonae Media Art Award. During 2016 she was an artist in Residence at Künstlerhaus Bethanien, Berlin, supported by the Calouste Gulbenkian Foundation. Her work is of great critical, conceptual and technical accuracy in an exploratory and enquiry way. Macedo shows internationally and lives and works between Lisbon and Berlin.
“If the traveller sees through the apparatus, which moves him through the world, then that same apparatus frames the landscape. In this series, landscape and apparatus become one. Finding new viewpoints from where to question the place of the observer has been a recurrent theme in my practice (Tatiana Macedo, 2016)” A vacant lot in the metropolis of Shanghai. A patch of urban wasteland, where thousands of Chinese tourists get in and out of tour buses day after day. As they swarm out to the city, the Portuguese artist Tatiana Macedo (1981, Lisbon) walks between the empty buses with her camera. From below she photographs the windows; like the urban surroundings, the buses’ interior takes on a new life via her eye. The seats lean back or remain alertly upright, as though autonomous bodies, their upholstery ranging from sober solid colors to gay patterns. Now and then, a stray sneaker appears in a window. Some curtains hang in neat folds; others are casually blown aside or sagging. Reflected in the windows of the bus is time, the turning point between past and present, as the ancient city melts into a cliché of modernity with its skyline of the world’s tallest buildings. Chairs and city, East and West, inside and outside, passenger and observer: all of those levels in Macedo’s photographs give them the look of a theater that has been brought to a standstill.