Trajectory

A Gallery and the Commitment with Photography and Art

Kamara Kó Gallery appears in Belém, Pará, in 2011, and it is tuned with the conceptual axis that guides the homonymous photographic agency, which was created in 1991. The choice of the name, Kamara Kó, was not in random. With Tupi origin, this name means “true friends”. Furthermore, an intention to share ideas, affections, educational processes and projects is in the core of an agency that collaborates, on a significant way, with the photographic production and diffusion in the North Region of Brazil.

Kamara Kó Gallery has the same respect and commitment with this production, and with such attitude, it has become an exhibit space turned to disseminate contemporary photography, promoting a dialogue and establishing relations of coexistence between photographers, collectors, critics and publics who are interested about the photographic process. The Gallery aims not only the market, the commercialization of the artwork, but it also proposes to provoke a knowledge exchange and reflect about the movement of photography that can be performed into different directions, crossing languages and being disposed to connect and dialogue with other areas of knowledge.

The photography in Pará has made History, in the sense that it has gained national recognition since the 1980’s. The involvement of Belém with photography dates from the nineteenth century, when several foreign photographers arrived in Amazon, attracted by the period of local rubber exploration. Among them, there was one who soon became a reference in the photographic field: Augusto Fidanza. But it is only during the second half of the twentieth century, in the 1980’s, that a different look starts to appear, creating images that will reverberate beyond the local frontiers, presenting traces that constitute an aesthetic itself, a personal way to interpret the world. Some of the photographers that acted during those times, constructing a theoretical and practical way to reflect about the photography process, are now part of Kamara Kó Gallery.

Nowadays, the group of photographers who is part of the Gallery is from several generations; generations who follow different paths, guided by affinities and differences. While some of them try on more collective trails with social and political approaches, others go through a more personal universe, with a subjective character. These approaches involve since urban areas to countryside ones, where it is possible to achieve the familiarity with nature, with the silence that guides us to a meeting with our own self.

The contemporaneity is materialized into proposals that can be distinguished even for being on the specific field of photography, as well as for being inserted into non demarcated categories – categories which extend and cross other domains of visual arts or other areas that cover the social, anthropological and philosophical fields. The permeability of languages ​​and the excellence in the quality of artworks are criteria that guide Kamara Kó and orientate it in the sense of promoting the interaction and diffusion of the production of the 17 photographers that it represents.

Marisa Mokarzel Curator and Researcher in Art