Barbado Gallery 2015 -2016


The Barbado Gallery was a Lisbon art gallery devoted exclusively to the showcase of contemporary photography.
Sadly, according to Yelpers, the Barbado Gallery in Lisbon Portugal is permanently closed.
Content is from the site's 2015 - 2016 archived pages offering a glimpse of the artists and their work.


Rua Ferreira Borges 109 A
1350-128 Lisbon Portugal

BARBADO GALLERY is passionately devoted to render accessible to the general public the artistic output of the most important international contemporary photographers.

Although it mainly represents very well established photographers, it devotes part of its program to the showcasing of emerging artists that show a great potential to grow artistically.

We showcase their work in our gallery, but also promote them internationally by attending fairs and working with other reference galleries and museums.

Because we believe all Art to be referential, we also represent a number of photographer’s estates and, from time to time, we hold historical “reference” exhibitions.

Located in the busiest street of the Campo de Ourique neighbourhood – Rua Ferreira Borges – the gallery is composed of one street level floor with two functioning exhibition rooms and a spacious underground gallery – opening in 2016.

With a clear commitment towards the cultural boosting of Lisbon, it has an open doors approach that underlines its belief that “Art is as valuable as the number of people it can touch.”



Gaston Bertin
Boris Eldagsen
Gundi Falk
Ren Hang
Alison Jackson
Nadav Kander
Panayiotis Lamprou
Marcus Lyon
Steve McCurry
Arno Rafael Minkkinen
Pagano (David DosRius)
Martin Parr
Denis Rouvre



LISBON | ‚Portrait Of The World‘ @ Gallery Barbado

25. MAI 2015
Inauguration of Gallery Barbado

May 30th, 9 PM


A group show, featuring photography by Gaston Bertin, Boris Eldagsen, Gundi Falk, Ren Hang, Alison Jackson, Nadav Kander, Panayiotis Lamprou, Marcus Lyon, Steve McCurry, Arno Rafael Minkkinen, Pagano (David Dosrius), Martin Parr, Denis Rouvre.

Rua Ferreira Borges 109 A
1350-128 Lisboa



EXHIBITIONS 2015 & 2016




28 NOV — 30 JAN

“Everywhere I look I see the possibilities of seeing something I have never seen before. Contrary to those who think otherwise, nothing has been done before.

A chronology only makes sense when there are enough years within it to see a progression. In my case, there is no evolution, just the years clicking ahead, images that are made of the same subject matter—myself—gradually aging. Yet, and hopefully, the possibilities are endless for creating a difference from one image to the next. I admire painters like Morandi or the documentary record that Atget left behind. I am swayed by nuances within similarities. Make them different—keep them the same: that has been my mantra.

I work in the nude to instill a sense of timelessness in the pictures. Timelessness here means that an image with just the human form and nature in its primal state could conceivably have been produced 500 years ago had photography been invented then. We can drift into a past in such photographs that goes well beyond any family tree. Photography is the best time travel vehicle I know. We just have to make sure we keep the planet looking the way it always has. The heaven we’ve been given is here on earth.

While my work stubbornly adheres to the same formulas by the limitations of the narrowness of my scope—the same body over four-and- a-half decades, never clothed: the same arms, legs, hands and feet albeit with an aging face and skin—diversity arrives from bringing the work together in exhibition (…)”


Arno Rafael Minkkinen, from the catalogue's preface


Arno Rafael Minkkinen





16 FEV — 31 MAR

A descoberta de livro de Maurice Maeterlink, "The Intelligence of the Flesh", 1907, intervencionado por autor desconhecido chamado David Dosrius, aka Pagano (Annihilated 1944), e ponto de partida de um investigação desenvolvida editor independente e curador espanhol Gonzalo Golpe que agora's apresenta after Galeria Barbado em Lisboa.

The most popular products, such as 1965 and 1967, are produced by the public and private companies in the material recuperado pelo curador des 2011.

This is the same as the autores atuais, Noé Sendas (Bruxelas 1972) and Salvi Danés (Barcelona 1985), em diálogo com David Dosrius.

Pagano nasceu em Fonelleres, after zona de l’Empordà, provincia de Girona, the trabalhará numação de recolhimento voluntário, longe das influências dos círculos artísticos catalães.

This is done by completing the observa- tion of nature and the transformation of the host family in the studio. The product that is scanned by the quantidation of the frame, the constant discipline of art, the comma and the value of the inter-coma coms to the mass of the auto-condominium and the vital force.

The autonomy of the transpara- tion is so strong that the cells of the escritos, aproxima-o the anarco-individualism of the brain, and the mode of seita do - the cinema - the philosophy of the brain and autonomy of the face of the eye do you do so by convenções sociais.

If the link is so motivated by the procedure, then it will be the same as the root directory of the file as dimension as the file.

An exhibit is made after the opening of Galeria Barbado and has been reconstructed to a biographical and non-real estate dating from 1965 to 1967, algo quita and sua projeção e sua pertinência. Assim, the essentials of the sublinar or vigor of the David Dosrius colocando-a di logo com a obra de dois autores atuais: No Sendas e Salvi Danés.

Belinha Pires




9 APR — 9 JUN

"India is like a labyrinth for your perception ─ Steve McCurry doesn’t show you this labyrinth from above but his images are like arrows inside the labyrinth signalling the directions in which you can walk your way out.

Nobel Prize winner, Octavio Paz, who lived in New Delhi for a few years as the Mexican Ambassador to the country, wrote in his seminal essay, “In Light of India”, about how he had been surprised by the country’s violent contrasts: “Modernity and archaism, luxury and poverty, sensuality and asceticism, neglect and efficiency”. 

The difference between any good portfolio on India and McCurry’s is that any other photographer will enhance all of these contrasts; McCurry gives you a key to understand them. Observe the proud, reassuring smile of the green, holi man in a situation where anyone else would be either compunctious or hysterical; observe the orderly chaos at Agra fort railway station, a composure that lasted only the time of a shutter speed and immediately after that vanished forever in the vortex of India’s frantic existence. Or even, observe the beauty and serenity of everyday life in the perfect choreography of the three, blue men sitting on a flight of stairs. These elusive moments will give you the key to India’s contrasts."

Gonçalo Cadilhe, from the Catalogue's preface






16 JUN — 16 AUG

Experiments in photography grow out of an idea about photography’s capacity to give form to the intangible. Gundi Falk is an image maker with a unique ability to construct visual experiments. She is not interested in catching the real, the visible, but in what underlies the visible. Falk explores the possibility of constructing reality and has faith in the idea that constructions are as real as anything.

By questioning the very essence of the photographic process, she subverts the imaging process by depicting the chemical and physical events in a partially calculated way, rendering images not developing them. Working in many ways more like a painter than a photographer, she replaces the canvas with photographic paper and attempts to let representations emerge out of the abstract materiality of the chemicals as she manipulates them. She interprets and responds as the image progresses in front of her, incorporating what August Strindberg called, and later the Surrealists and Abstract Expressionists, ‘chance in artistic creation’.

The images on display are the result of a complex game of controlled and uncontrollable chance, impossible to achieve by any other means. They hover between form and formlessness, show what has never really existed and leave room to appeal to the imagination, accepting elements of mystery, revealing the unseen, the intangible, entering the labyrinth of the subconscious. Although landscapes in subject matter, these works can also be seen as metaphors for her inner moods, offering insight into the mind of the artist.

The chemigram, invented in 1956 by Belgian artist Pierre Cordier with whom Falk has been collaborating and widely exhibiting since 2011, remains an opaque process. Although commonly described as a camera-less medium, it cannot be classed as a photograph or a photogram, for it does not rely solely on light or negatives to produce an image. 
As in the case of the photogram, the result is unique.
This camera-less photographic images are the result of exposing photographic paper to the same chemicals usually employed to develop and fix images, but in unconventional ways. Additional materials localize and particularize the chemical events taking place. They include oil and varnish, but also honey, syrup or nail polish, all of which interact with the chemicals and paper in different ways.

Methods and aesthetics associated with early science photography and the forms of vision it made available, have surface again in recent years with profound and enduring influences into the field of fine art photographic practice. This influence, rooted in the sense of wonder with which scientific images are often met, has helped to introduce a radically abstract vocabulary in the work of a range of artists interested in the materiality of the photographic print, particularly, the ways in which photographic chemicals react, and in exploring the non figurative effects created by camera-less techniques.
The first camera-less techniques were explored at the dawn of photography in the 1830s, were again relevant during the 1920s, and have been rediscovered by contemporary artists in the midst of the digital age. Various reasons seem to be responsible for the revival in recent years of an increasing interest in camera-less photography. The main reasons among them are the rapid expansion of networked digital technologies and their impact on traditional forms of photography which, in turn, have triggered nostalgia for the alchemical appeal of alternative chemistry-based processes now being liberated from their descriptive functions and reborn in radically new ways.
The growing interest in camera-less photography has reinforced and restored the idea of the photograph as object, the notion that photographs are not only images but also things, and that photography can be a generative rather than a mimetic art form.

Isa Dreyer-Botelho






15 SET — 09 NOV

The night, the sex, the wandering... and the need to photograph it all, not so much the perceived act but more like a simple exposure to common and even extreme experiences... It is an inseparable part of photographic practice, in a certain sense, to grasp at existence or risk, desire, the unconsciousness and chance, all of which continue to be essential elements. No moral posturing, no judgement, simply the principle of affirmation, necessary to explore certain universes, to go deep inside, without any care. A ride into photography to the vanishing point of orgasm and death.

The night, the sex, the wandering... and the need to photograph it all, not so much the perceived act but more like a simple exposure to common and even extreme experiences... It is an inseparable part of photographic practice, in a certain sense, to grasp at existence or risk, desire, the unconsciousness and chance, all of which continue to be essential elements. No moral posturing, no judgement, simply the principle of affirmation, necessary to explore certain universes, to go deep inside, without any care. A ride into photography to the vanishing point of orgasm and death.

I try to establish a state of nomadic worlds, partial and personal, systematic and instinctual, of physical spaces and emotions where I am fully an actor. I avoid defining beforehand, what I am about to photograph. The shots are taken randomly, according to chance meetings and circumstances. The choices made, considering all the possibilities, are subconscious. But the obsessions remain constant: the streets, fear, obscurity, and the sexual act.... Not to mention perhaps, in the end, the simple desire to exist.

Beyond the subject, the lost souls and the nocturnal drifting, the scenes of fellatio and of bodies in utter abandon, I seek to reveal some kind of break up through the mixture of bodies and feelings, to reveal fragments of society that escape from any analysis and instant visualization of the event, but nonetheless, are its principal elements.

The brutality of the form, the intensity of the vision obligates us, still more than images that pretend to document, to involve ourselves with the reality of what we are seeing. The spectator can exist then, no longer finding himself in the position of voyeur or consumer but as sharing an extreme experience, wondering about the state of the world and of himself.

Antoine D' Agata







12 SEP — 11 NOV

Martin Parr's Beach Photos 1985-2015

Martin Parr has dedicated an entire body of work to painting all the seasonal migrations of people with dabbing brush strokes which can be likened to the regular and consistent path of migratory birds when warm weather comes. Choosing vacations by the beach is understandable in that it focuses on good times, the sun, the sea and the beach which crashes into the somewhat sleazy reality of crowds, noise and filth.

If he turns to the funny side of the situation by suggesting that the oversized plastic swan in the foreground is part of the beachgoer’s fun or that the lollypop has taken the place of the volleyball, he makes use of physical comedy when it is the ice cream being eaten and dripping down their faces which makes two children who can’t stop smiling happy, setting them in the classic pose of a vacation photo. And of course, completing the story we find the same ice cream cone, which is giant this time, set as the ultimate dream of happiness, becoming a statue at Weymouth beach. Furthermore, comedy of manners or comedy of character are the devices which he uses to paint a picture of specific «types», such as the “movie star” in white-framed glasses or the smoking lady with brightly painted nails, revealing her junky jewelry on arms which already show their age, and we find ourselves asking if both of them still dream of being in a Miss something or other pageant.

Yet, if he wants to make us smile or even laugh, Martin Parr is in no way gratuitously cruel, only the events, situations, connected ideas or characters, and especially this little grain of sand which slips into the story, this discrepancy between imagined happiness and a much more dull reality tips the balance of the picture into absurdity. That’s how the young boy’s day of swimming at the beach, what he had been dreaming about all summer long, is polluted by trash collecting on the beach. Is the sunbather’s sun tanning threatened by this out of place tractor which seems as if it wants to crush her and are the blue protective tanning booth goggles still out of place on a beach...

And to back up his statement the artist masterfully manipulates his color palette which is often intense, sometimes too vivid and even unlikely when he uses his flash in aytime. It makes meaningless detail almost grandiose and focuses our attention on the little nothings of daily life.”

Agnès de Gouvion Saint-Cyr, from the exhibition catalogue’s preface


Gaston Bertin

Gaston Bertin was born in France, he grew up in Spain, and he received his education in the United States (BFA, Photography, Parsons School of Design, NY; Masters in Landscape Architecture, Rhode Island School of Design), and Italy (Associate Degree in Industrial Design, Istituto Europeo di Design, Milan). He presently lives and works in Barcelona and exhibits internationally.

"A13", 2015



Pagano (David DosRius)

The current exhibition is simultaneously a presentation of the work of an unknown author – David Dosrius, aka Pagano – and a reconstruction of an investigation to which I have devoted myself over the past few years.

In 2011, at Feira da Ladra (Lisbon Flea Market), a mandatory visit every time I am in Lisbon, I bought a book that attracts my attention in an old bookstore: an annotated edition of “The Intelligence of Flowers” (1907) by Maurice Maeterlinck (1862-1949), a Belgian writer who was awarded the Nobel Prize in 1911.

“The Intelligence of Flowers” may not be his best known work, but it is certainly one of the most personal and lyrical of his literary production. It is a short essay on botany, with a pronounced humanist character.   

Along with this book, I also bought a whole series of objects: a box of photographs in different formats, several notebooks, three super 8 movies, two of which were in very poor condition, and a collection of punched cardboards. 

Soon enough, my interest in the book was overtaken by my interest in the enigmatic figure of the author of the intervention and in all of that attached material.

This finding marks the beginning of an obsession that I have not been able to release myself from to this date, but that has evolved enough to materialize itself and to be shared.

The current exhibition includes a complete series of works created by Pagano over the Maeterlinck book between 1965 and 1967, together with original sketches, reproductions and work plans. The personal correspondence he maintained with Belinha Pires serves as a common thread of the exhibition’s discourse, further contextualizing the proposal.

After studying Arts in Barcelona in the beginning of the sixties, Pagano returns to the village where he was born, Fonelleres, in the l’Empordà area, province of Girona, where he will work in voluntary isolation, away from the influence of the Catalan artistic circles and from a city that he had always felt as alien and even violent.

He dedicates himself completely to the observation of Nature, whilst transforming an old barn of the family house in his studio. There, he tirelessly produces a multitude of Works, constantly hybridising artistic disciplines with the freedom of who produces not to interact with the art world or with his peers, but as an exercise of personal knowledge and life positioning.

This fierce autonomy that he shows in his Works and in his writings draws him near Thoreau’s anarcho-individualism, but also near the way of life of the Dog’s Sect, the Greek cynicism, a philosophical current that claimed the autonomy of the individual towards the powers of the State and social conventions.

The work of Maeterlinck not only has reconnected him with his origins, but it was also the cause of a rupture that affected every order of his life and that currently, as an art editor and teacher, I sense as a required counter-model for the training of Young authors.

The reconstruction of his life and the cataloguing of his work could have probably required a more orthodox focus from me; I can only say, for my defence, that this is a work in progress to which I will dedicate the effort and the seriousness required by such a task.

I cannot but express in these lines my appreciation to João Barbado, producer of this exhibition and confidant, who was fascinated by the figure of Pagano and who turned out to be of invaluable help in my investigation. 

Gonzalo Golpe




Ren Hang


Gaston Bertin
Boris Eldagsen
Gundi Falk
Ren Hang
Alison Jackson
Nadav Kander
Panayiotis Lamprou
Marcus Lyon
Steve McCurry
Arno Rafael Minkkinen
Pagano (David DosRius)
Martin Parr
Denis Rouvre






1966 Born near Salzburg, Austria.
Lives and works as artist in Brussels, Belgium.

Ren Hang was born in Changchun, Jilin Province, China. He works and lives in Beijing.

Untitled, 2014



Alison Jackson is a contemporary artist who explores the cult of celebrity – an extraordinary phenomenon created by the media and publicity industry. Jackson makes convincingly realistic work about celebrities doing things in private using lookalikes. Likeness becomes real and fantasy touches on the believable. She creates scenarios we have all imagined but never seen – the hot images the media can’t get.

Jackson raises questions about whether we can believe what we see when we live in a mediated world of screens, imagery and internet. She comments on our voyeurism, on the power and seductive nature of imagery, and on our need to believe. Her work has established wide respect for her as an incisive, funny and thought-provoking commentator on the burgeoning phenomenon of contemporary celebrity culture.

Alison works across all media and arts platforms in TV, Press, Internet, books, and is widely exhibited in galleries and museums attracting extensive interest in the press and on TV. Her images themselves have become just as much a part of popular culture as images of the real celebrities.

Born in Hampshire, Alison trained in Fine Art Sculpture at Chelsea College of Art in London, and in Fine Art Photography at The Royal College of Art. She lives and works in London. Alison is Ambassador to the Spinal Injuries Association.

Queen and her Footman plays with the Corgis




Born in Lisbon in 1979. Graduated in Law by the Lisbon University. Was a lawyer for ten years before becoming fed up and quitting in early 2015. Shortly after opened Barbado Gallery, the premier gallery in Lisbon for contemporary photography.