Ricardo Hantzschel, professional photographer, founder and coordinator of the project, develops depth research with pinhole cameras and historical processes, using these techniques to create some of his personal work. The footage from "Cidade Casual" and "Cidade Múltipla" essays, now part of the collection of the Museum of Modern Art of São Paulo, earned him the Porto Segure Prize of Photography in 2003 and the "SAL" essay, printed on salted paper, Funarte Marc Ferrez Award in 2014.
In 2004, during the 26th International Biennial of Sao Paulo, he met the Belgian Christine Felten and Véronique Massinger, whose work on the show was made up of huge colored photographs (3x1,5m) taken with a trailer adapted as pinhole camera. As they left Brazil, the artists donated the trailer to Ricardo, with the intention of keeping it active in the photographic scene.
With experience teaching photography in institutions like the Lasar Segall Museum, Centro Cultural São Paulo, SESC Pompeia and the Senac College of Photography (Undergraduate and Graduate), Hantzschel realized the opportunity available and invested in the trailer to create the Cidade Invertida project. The vehicle was renovated and adapted to become a giant camera obscura (Latin for “dark room”) and a black-and-white traditional lab that could be taken anywhere.
Around the friendly presence of the trailer, the project has expanded, with the (mote) of the passage of knowledge in a fun and collaborative way. Through visual games, optical devices, pinhole cameras, disposable cameras, mobile cameras and historical processes, we demystify the image and mobilize for a creative and conscious look.
The photograph is a natural transversal language and has the potential to mobilize different areas of knowledge. Stating the subject as creator of his own visuality is to contribute to the awakening of the sensitivities and the formation of critical citizens in relation to everyday icons.