How can the child lie that she is asleep and be faster than her body? She - “But it wasn’t so violent, was it?” The child stayed in bed repeating that she was sleepy for forty minutes. She - “I’ve wanted it to be almost like a mantra and to generate tension.” Time past and time present. If all time is eternally present all time is unredeemable. She - “ It was a school exercise, I would use what was close to me, what was domestic and you were part of it”. Fourteen years have past. I take her images; I compel her to answer me. She is the mother. She is the daughter. She is my mother.
- Cristina Lamas
- Salomé Lamas
- Salomé Lamas
- SALOMÉ LAMAS
I'm attracted by a series of things related to the ends of the earth, exiled places, margins.
Salomé Lamas (1987, Lisbon, Portugal) studied Cinema in Lisbon and Prague, MFA in fine arts in Amsterdam, and is a Ph.D candidate in film studies in Coimbra. She has been working with time-based image and has exhibit both in art spaces and film festivals. After a couple of awarded short films, her debut film NO MAN’S LAND (2012) swept most of the domestic awards at Doc Lisboa, had its international premiere at Berlinale Forum and was later presented at MoMA Documentary Fortnight. After several shorts, including VHS - VIDEO HOME SYSTEM (2012), ENCOUNTERS WITH THE LANDSCAPE (2012) and THEATRUM, ORBIS TERRARUM (2013), her feature-length ELDORADO XXI (2016) was selected at the Berlinale Forum. Her recent essay film EXTINCTION was selected at CPH:DOX 2018.