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The photographs of the works "You are dead" and "The milk of the end" lead the writing by revealing new artistic visual representations about breastfeeding in contemporary times based on self-portraits. Three photographs from each trial were chosen for their visual connections to milk production by the human body. The works produced by visual artists, mothers, make visible an action reserved for the intimate space and tension the dominant representation regime on breastfeeding, enabling the construction negotiation for a new visual repertoire. Autoethnography and ethnography are recognized as critical scientific methodology and serve as an instrument for research. [ABSTRACT FROM AUTHOR]

This article presents an analysis of four images created by the multi-artist Eustáquio Neves. The set of images is part of the exhibition entitled Other Ships: Photographs by Eustáquio Neves, on display at SESC/SP since September 7, 2022. Other Ships emerge comprising new discourses, provocations when dealing with visuality in contemporaneity through expanded photography. The brief study intends to approach through Eustáquio Neves' hybridizations, in dialogue with the capitalistic body and discriminatory transversalities, - the historical membranes, the erasures registered on the surface of the images. And also to show the presence, the ingrained prejudices and social and cultural violence suffered by “minorities”. [ABSTRACT FROM AUTHOR]

There is a growing interest in producing analogue photographic images, supposedly obsolete. This phenomenon occurs both in professional photography (particularly in the field of art) and in its vernacular use. We aim to understand what makes these images still desirable by analyzing some examples. For this, we bring to light recent discussions about the impact of digital to photography, made by contemporary authors (SOULAGES, LENOT, BAIO, FATORELLI, DOBAL) and use the concept of noise (HAINGE) to elucidate what we believe to be an important tendency of the currently use of photochemical techniques: the inclination to the image's experimental vertent, ludically revisiting devices and inputs through diverse interventions in their original modes of operation. [ABSTRACT FROM AUTHOR]

The text brings a brief history about the insertion of photography in the domain of art and opens a conjunct of reflections around the means and supports in the artistic contemporary production to reflect about the indexiality in the contemporary photographic production. Therefor it articulates conceptual and technological questions in current works to expand the forms of thinking the indexiality of the photography in contemporary imagetic regimes. [ABSTRACT FROM AUTHOR]