Luisa Malzoni

Graduated in Photography from Centro Universitário Senac (2004). Since 2005, Luisa has been working as a film restoration and conservation technician at the Cinemateca Brasileira, where she specializes in photochemical restoration of films with dyeing and turning. He applied the desmet method, developed by the Belgian restorer Noel Desmet, in several important titles of Brazilian filmography, such as: “Braza dormida”, “O segredo do corcunda”, “Grandezas de Pernambuco”, “Companhia Mogyana de Estradas de Ferro”, “Jurando vingar”, among others. She is also responsible for the technician and operator of a scanner specialized in high-resolution digitalization of films that show deterioration.

Since 2003, she has been developing authorial work based on the study of 19th century photography and cinema techniques. Represented by Verve Galeria since 2013, she has participated in numerous exhibitions in Brazil and abroad, and has two works at the Rio MAR art museum. She won the Jabuti 2020 award in the cover category, with the book: Penitentes – dos ritos de sangue à fascinação do fim do mundo by photographer Guy Veloso.

She develops master’s research under the guidance of professor Eduardo Victorio Morettin on the restoration of color in silent cinema in Brazil.

Memory is not a simple remembering or remembering, but reveals one of the fundamental forms of our existence, which is the relationship with time and, in time, with what is invisible, absent and distant, that is, the past.

Marilena Chauí

 

In philosophy, memory is the guarantee of identity structuring, enabling the encounter with oneself.

The memory thread woven with a trail of light that denounces a gesture, the tenuous film scratched on the paper, the dry stain; the ground floor, the knot of wool, the fold of the handkerchief, the dampness of crying: the construction of memory through this woven web as a primordial experience is what can be inferred from the aesthetic experience to which artist Luisa Malzoni is dedicated.

Experience-essay developed since when she wrote the embroidered verse that in her work appears alongside photographs, made on supports that she appropriates in this journey – treasures perceived in corners and collected by the curiosity of a girl who never ceased to be. The heat of the sand, the smell of the sun, the roughness of the leaves, the noise of the dress and whatever else interests you, evoked so as not to forget, but especially kept to restore the future.

The memory that does not evoke the past, but testifies to continuity full of brilliance and care in building a present time. Eye of water sprouting with the preserved forest that surrounds it, sown over time, and combining love with embroidery, affection with ink, devotion with light and work with great pleasure.