Biography
As part of its exhibition La révolution de 1974. Des rues de Lisbonne au Luxembourg, the museum is pleased to present a selection of images by Alfredo Cunha recently exhibited at the Museu do Neo-Realismo (Vila Franca de Xira, Portugal). Curated by its scientific director David Santos, this exhibition marks the 50th anniversary of the career of Alfredo Cunha, the best-known photojournalist of the Carnation Revolution.
Alfredo Cunha (b.1953) not only closely documented the coup d'état of 25 April 1974, but also witnessed the process of Portuguese decolonisation in Angola, Mozambique, Guinea-Bissau, São Tomé and Príncipe, East Timor and Cape Verde. In Portugal, he continued to cover the early days of democracy for the press under the PREC (Revolutionary Process in Progress, 1974-1975), before becoming the official photographer of two presidents of the Portuguese Republic: Ramalho Eanes and Mário Soares.
After a long career as a photographer and art director in the image departments of various newspapers, he now works on a freelance basis and continues to develop various editorial projects after his first book, Raízes da Nossa Força (1972). This exhibition, organised by theme (25 April and Decolonisation, World, Portugal, Conflict, Religion and Portraits), is accompanied by a catalogue published by Imprensa Nacional to mark the 50th anniversary of Alfredo Cunha's career. All the photographs presented here (analogue until 2002, then digital) come from the collection of the Museu do Neo-Realismo.
Introduction
Like a Russian doll, the origins of photography and its ongoing practice can be traced back through Alfredo Cunha's life to the beginning of the 20th century, when his grandfather made the risky decision of becoming a professional photographer. This shared history is evident in the father's decision to continue his grandfather's work by taking over the family studio, and in Alfredo Cunha's own decision to venture into photojournalism; a certain sensitivity and a culture of image production is transmitted from father to son, underlining the value of a common heritage. From commercial photography to photojournalism, from grandfather to grandson, a century of image-making comes full circle. This spans reality and its representation, between carefully staged scenes and moments that happen spontaneously.
Like a Russian doll, a photographer's life is made up of legacies, references and learning, also of vague memories, dreams, projects, visions and unexpected realities. Most importantly, it is about instincts and decisions about what to show the viewer. From the largest to the smallest, and between real and imaginary images, the final image is larger than life. It will endure to engage other observers, ultimately becoming part of the future that inspired the moment. This moment of judgment occurs between the gaze, the brain, and the click that captures the image.
Like Russian dolls, lives and their images follow one another from generation to generation, each unique yet similar. One photograph leads to another, creating an endless loop of connections and distances. This play of mirrors on reality is circular and never static. When we look at a photograph, we move from our memories to articulating its impact on our lives. Between photographs and other images, we revisit our past, marking the milestones of life and revealing our true selves. In Alfredo Cunha's case, life consists of images made, to be made, and those left behind. Some images transcend the photographer's intent, taking on a collective significance and identity.
Curator
David Santos
Chapters
Photography is a unique medium that has transformed our perception of life and our awareness of mortality. The human figure in a photograph is not just an approximation but a symbolic reflection of a fleeting moment.
— David Santos
Most of these photographs depict the military units that, in April 1974, occupied downtown Lisbon, including the Municipality and Terreiro do Paço, where a violent military confrontation almost occurred. There was no glory, revolutionary fervor or police brutality. It felt more like an encounter than a confrontation. Despite the proximity to potential violence, the peace and calm of people doing their jobs is striking.
— António Barreto
Mortuary masks were the first mimetic portraits linked to the “index.” Photography creates the most convincing memories of human existence, capturing both the space-time dimension and abstract identity meanings, fostering a sense of belonging and universal connection.
— David Santos
Individual eyes, bodies or gestures, even when spontaneous, create a significant semantic shift in photography, renewing the evocative power of art. A photograph, as a space-time slice, introduces narrative discontinuity but also extends meanings and opens new narrative possibilities through each observation's variability.
— David Santos
This essence of a humanist photographer is evident in his work, which focuses on the human condition, encompassing pain, suffering, joy and peace. His photographs capture beliefs and emotions, favouring the sense of humanity in everyday life, family, work, and collective events. Buildings, works and landscapes are less present in his work than people.
— António Barreto
The art of photography requires more than technical skill; it demands knowledge, aesthetics, humanity, a worldview, the ability to abstract from singular events and the desire to transcend the ephemeral.
— António Barreto