A section arising from the coming together of two recent movements: the passage of film to museums and the inclusion of documentary in contemporary art. Passages aims to reflect a diversity and complexity that reshaped documentary practice by opening its perspectives, but at the same time questioning both categories and disciplines within the context of visual arts.

Terceiro Andar
Third Floor

Luciana Fina

2016 | Video | 2 screens | Loop projection | HD, DV | Colour | Sound | 27’

Which language shall we use to tell the stories we have been told? In which language shall we write a declaration of love?

“Lisbon, Bairro das Colónias, third floor. Conveying and translating an insightful encounter of different worlds, Fatumata and Aissato discuss love and the creation of happiness. Their feelings have been determined by narratives and languages acquired at different stages of life and in different places. At 7pm, from the third to the fifth floor, where I live, a regular sound, always the same, like the beating of a heart, reverberates through the building.” (Luciana Fina)

“A building in Bairro das Colónias in Lisbon, a mother and daughter, the aerial roots of a tropical plant that, from the upper floor, traverse the building’s stairwell. The roots are the vertical mesh that, combined with the horizontality of Luciana Fina’s two screens, weaves a rich narrative that speaks of generations, cultures, languages, relationships and feelings. Fatumata and Aissato are the mother and eldest daughter of a large family from Guinea-Bissau. Fatumata and Aissato talk, converse; the daughter translates her mother’s language and, as she translates, she interprets tales of love and happiness. Roots from the fifth floor where Luciana lives tumble down to Fatumata and Aissato on the third floor, they invade the exhibition space and spread out like rhizomes, discovering correspondences and connections that permeate the whole festival.” (Davide Oberto)

THIRD FLOOR | Diptych, continuous projection, 27 min

21 October 2016 – 23 January 2017

Museu Calouste Gulbenkian – Modern Collection

Free admission (ticket required)

The diptych invites the viewer to the space of the word and the dialogue between the mother and the eldest daughter of a large family originally from Guinea-Bissau, and to the physical and sound setting of the building where this family and the filmmaker live. As a poem, a story, a letter and a prayer are spoken, words travel from one language to another, from one speaker to another, creating connections. The sound rises up the stairs and landings, seeps through the walls, doors and corridors, occupying homes and balconies, travelling through the building in all its complexity and permeability.

With the dual projection of Third Floor, in a migration to the exhibition space, Luciana Fina once again uses the cinematographic act to question the narrative  forms and subject matter of film.

An installation by Luciana Fina; with Fatumata Baldé and Aissato Baldé; Cinematography: Helena Inverno, Rui Xavier; Sound: Olivier Blanc, Miguel Cabral; Editing: Luciana Fina; Technical designMarcello Urgeghe; Colourist: Marco Amaral; Sound mixing: Tiago Matos;Edit Assistant:  Rui Silveira; Production support:  BEST Patrícia Faria; Consultant to management:  Paula Varanda; Production and Management Assistant:  Elsa Sertório; Production:  LAFstudio; Associate Producer:  TERRATREME; Support: Fidelidade Property | Balleteatro; Equipment support: Ricochete Filmes | Screen Miguel Nabinho | Cineset; Project funded by: DGARTES Governo de Portugal | CML Câmara Municipal de Lisboa

Acknowledgements: Manso Baldé and the Baldé family, building tenants and neighbours, Ana Fontoura, Anil Jaintilal, Carla Bolito, Cristina Fina, Entre Imagem, Espaço Mira, Filipe Pereira, João Ribeiro, Karyna Gomes, Lidia Apa, Luísa Homem, Miguel Nabinho, Odete Semedo.

LUCIANA FINA | biographical notes

Luciana Fina has worked in Lisbon since 1991. Following a long collaboration with Cinemateca Portuguesa as an independent programmer, she made her debut as a filmmaker in 1998. Since then she has developed a practice that frequently migrates from the cinema to the exhibition space, as she explores the possibilities and potential of film within the sphere of the arts. In 2003, she began a series of video portraits that came together in the O Tempo de um Retrato [Time for a Portrait] project. Her work has been shown internationally at festivals and exhibitions. Her most recent documentary, In Medias Res [In the Midst of Things], was awarded an Honourable Mention at the Temps d’Images Films on Art Award and the Best Portuguese Film Prize at the Arquiteturas Film Festival.


2013: In Medias Res [In the Midst of Things] (documentary, 72 min) PT; 2009/2012: Portraire (essay film) PT; 2006: Le Réseau [The Network] (documentary, 68 min) FR/PT; 2004: O Encontro [The Encounter] (documentary, 61 min) PT; 2003: Taraf, três contos e uma balada [Taraf, three tales and a ballad] (documentary, 42 min) PT; 2001: 24h e Outra Terra [24hs and Another Land] (documentary, 45 min) PT; 1999: Jérôme Bel, le film [Jérôme Bel, the film](55 min) FR; 1998: A Audiência [The Audience] (documentary, 76 min) PT


2016: Terceiro Andar [Third Floor] (diptych); 2014: Être Ici [Being Here] (site specific work); 2014: A Casa e o Tempo [The House and Time] (site specific work); 2001/2010: CCM (CCTV watch points 1 – 7); 2009: HORS SUJET portrait (diptych); 2009: VUE portraits (triptych); 2005:REFLECTION portrait (diptych); 2004: MOUVEMENT portrait (diptych); 2003: CHANT portraits (triptych)

By the way
Correspondence Films – Letters, Distances, Displacements