For its third issue, the biannual Brazilian magazine from the Instituto Moreira Salles (IMS) has decided to focus on rarities, publishing never-before-seen images by the photographer and painter Geraldo de Barros. Shortly before his death in São Paulo in 1998, the artist, armed with scissors and a roll of tape, revisited some old family photos gathering dust in shoeboxes. The result was the series Sobras (“The Remains”), with astonishing photographs constructed on glass plates. They put into question the idea of space, time and the “decisive moment.” Far less known than the series Fotoformas, which made Barros famous, Sobras had never been published until now.
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