what it is

Cidade Invertida it’s a Project that unites photographers, educators and artists to elaborate image related cultural actions in order to make it a driving tool of culture, knowledge and citizenship. Its reference symbol is a trailer, adopted to operate as a camera obscura (Latin for “dark room”) and photograph laboratory, giving the project an itinerant character. With about 20,000 kilometers traveled since 2006, the Cidade Invertida expanded its area of action, winning awards, municipal, estate and federal incentives, which contributed in serving hundreds of people of all ages and social-cultural situation; the conceptual and aesthetic research, related to delight, teach and communicate through images and the training of teachers, inside and outside the project.

22014 - Cidade Invertida at the aBA Non-Profit Organization located in East São Paulo by Umi Filme
2010 – About cultural training courses given to educators in 2009.
Sponsorship: ArcelorMittal & Co-Sponshorship: AES Eletropaulo
Edited by: Amauri Moreira de Carvalho
2011 - Discussing the importance of image in daily life.
Sponsorship: COMGAS Award of Social and Cultural sponsorship.
Edited by: Amauri Moreira de Carvalho


The images communicate, emote, create and/or emphasize beliefs, needs, values​​, ways of thinking. According to a survey in France, 82% of our informal learning is through image and 55% of this learning is done unconsciously*. Visually literate population is therefore a matter of inclusion and citizenship, who "make effective the right of all the control over the value system that underpins the government over their lives." **

There seems to still be in elementary school today, a concern in preparing the individual to read images, although, according to Robert Saunders, "we're changing from a verbally oriented culture for a visually oriented culture." ***


  * "A Imagem no Ensino da Arte" by Ana Mae Barbosa, page 36
 ** "Imanol Aguirre Arriaga in A Imagem no Ensino da Arte", page XXII
*** "A Imagem no Ensino da Arte" by Ana Mae Barbosa, page 54