Assis Horta: The democratization of photographic portrait through the Brazilian Labor Law (CLT)
Project of Photographic Research proposed by Guilherme Horta
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Historical and iconographic research to investigate the beginning of photographic portrait use by the Brazilian working class.
Š photo by Assis Horta
PORTRAIT
“Portrait is probably the most powerful art form, dating at least to 270 B.C. Its fascination over human imagination is unique: it is still a privileged link between reason and the magical spirit which doesn't leave humankind. This is due to the fact that portrait not only gives itself to the eye of the observer, but also observes him attentively, which can be comforting or threatening. The “primitives” may have been right when they denied being exposed to the eye of the camera, which would capture not only their appearance, but also their essence. Portrait are in fact a constant exercise of social and individual psychology, and it is in them that the central issue of arts presents: representation versus expression. So, what is at stake in the portrait is not only its aesthetic form but also a way to understand human nature. If portraits were for a long time a technique to freeze reality and show it as it is, better than reality itself, nowadays it is an ever-changing exercise of representing the fluctuating human identity.” Teixeira Coelho Extracted from the exhibit “To look and be seen” MASP – Museu de Arte de São Paulo 2009/2010
Š photo by Assis Horta
3x4 photographics portraits of female workers from the textile industry in Biribiri-MG 2 months after the Brazilian Labor Law (CLT) was approved.
After the Brazilian Labor Law (CLT) of May 1st, 1943, millions of workers sat in front of a camera, probably for the first time, to regulate their professional registration (Art. 13) and use their 3x4 photographs on their Brazilian work identification document (CTPS) (Art. 16).
THE PRESIDENT OF THE REPUBLIC OF BRAZIL, by the powers vested in him on Art. 180 of the Brazilian Constitution decrees: Art. 1 – The Brazilian Labor Law (CLT) is approved, which follows this decree, with the modifications introduced by them in the current legislation. Single Paragraph. The legal transitory or urgent dispositions, as well as the ones which are not applied in all national territory, are still effective. Rio de Janeiro, May 1st 1943, 122th year of Independence and 55th of the Republic. Getúlio Vargas Art. 13 – The Brazilian work identification document (CTPS) is mandatory to work on any job, including those of rural nature, even if temporary and for self-employment in paid professional activities. Art. 16 – The Brazilian work identification document, besides it's number, series, and date of issue, will also included about its holder: 1) Photograph with mention to the date it was taken.
Š photo by Assis Horta
With the widespread use of 3x4 photos, photographers started to be known by workers. Photographic portrait becomes part of worker's lives. It fulfills dreams, dignifies people and help minimize homesickness by making this human being eternal.
Š photo by Assis Horta
Assis Horta, a photographer, who is 94 years-old nowadays, had a photography studio in Diamantina, Minas Gerais, between the 40s and the 70s. He developed an important work in preserving the local culture and memory through IPHAN, the Brazilian Institute of Historical and Artistic Heritage. He registered in glass plates almost all the members of the society of Diamantina at that time.
Š photo by Assis Horta
GOALS
Š photo by Assis Horta
JUSTIFICATION
Š photo by Assis Horta
Š photo by Assis Horta
Š photo by Assis Horta
Š photo by Assis Horta
Š photo by Assis Horta
EXHIBIT
Photographic Research by Guilherme Horta Photographs by Assis Horta