João Bragança Gil

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	<title>João Bragança Gil</title>
	<link>https://joaobragancagil.com</link>
	<description>João Bragança Gil</description>
	<pubDate>Mon, 13 Jul 2026 12:42:22 +0000</pubDate>
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		<title>Dialectics of Ambiguity</title>
				
		<link>https://joaobragancagil.com/Dialectics-of-Ambiguity</link>

		<pubDate>Wed, 22 Nov 2023 13:42:44 +0000</pubDate>

		<dc:creator>João Bragança Gil</dc:creator>

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	[Work in Progress]
Dialectics of Ambiguity : Affinity &#38;amp; Resistance

João Bragança Gil · [WIP] Dialectics of Ambiguity : Affinity &#38;amp; Resistance


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		<title>Anticline</title>
				
		<link>https://joaobragancagil.com/Anticline</link>

		<pubDate>Wed, 27 May 2020 10:45:37 +0000</pubDate>

		<dc:creator>João Bragança Gil</dc:creator>

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		<title>Archive Text</title>
				
		<link>https://joaobragancagil.com/Archive-Text</link>

		<pubDate>Wed, 27 May 2020 11:45:24 +0000</pubDate>

		<dc:creator>João Bragança Gil</dc:creator>

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	This page is a compilation of research material, found and collected during the research for this project. Below, you can find a very wide ecology of resources, from essays, photographs, videos, documentaries, news articles, official documentation, cartography, websites, blogs, objects, tools, sculptures. These materials played a crucial role in understanding marble holistically, from an animist perspective to a governance issue, a material of expression for classical sculptures before Christ, to the tools that mine and transform this 'resource', from its geological structure, mineral structure and how these different agents have been weaving a network of agents, and actors on the landscape, categorising it and quarrying it for exploitation.

It is a long history woven in or rather —&#38;nbsp;with — time. Much as with any network thread, the possibility linkage is immensurable. The archive thus assumes itself as plastic material, an assemblage, in Fluxus. Furthermore, it reveals not only the selected resources but also the resources omitted.


	In this archive, I tried to collect things that were important to me, to my investigation and to the development of this project. It serves only to prove it’s incompletion. Albeit personally, this is perhaps the most interesting point. The incompleteness of this project draws the possibility to be but a provocation, a starting point, to your sensibilities, and your own investigation by revealing the vast extent of these nuanced and interconnected networks often overlooked when gazing the landscape and materials that surround us.

The seemingly anarchic order of this archive attempts to achieve and non-structural and non-hierarchical form of researching. By making things somewhat difficult to find, unexpected connections might occur. Additionally, browsing through different points-of-view, and different disciplines is, an attempt to grasp a more holistic view over these issues. Often in separation, speaking nearly different languages, using their terminologies, aesthetics and imaginaries, archives are compartmentalised, and in here, just as in Borges Celestial Emporium of Benevolent Knowledge (1948), reshuffled.

	Moreover, it reveals a critical point to this project: empathy, and the scientific difficulty of understanding the world sensitively, and outside of a functionalist, anthropocentric view. 
Lastly, it mustn't be omitted that these materials constitute part of my artistic practice. This archaeology of knowledge is precisely the critical analysis of these elements and the possibility of forming new, ambiguous relationships between them.&#38;nbsp;


— João Gil, 2020


Database last updaded: 
Sep 2020
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		<title>Archive Content copy</title>
				
		<link>https://joaobragancagil.com/Archive-Content-copy</link>

		<pubDate>Wed, 27 May 2020 11:45:30 +0000</pubDate>

		<dc:creator>João Bragança Gil</dc:creator>

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		<description>&#38;nbsp;NameAuthorPublisherKeywordsTypeLink


	About a Stone: Some Notes on Geologic Conviviality
	Hugo Reinert
	Environmental Humanities
May 2016
	Environment, Humanities, Animism
	Document, Essay
	https://doi.org/10.1215/22011919-3527740


Contribuição para o conhecimento tectono-estratigráfico do Nordeste Alentejano— pt. IJoaquim Luís Galego LopesDepartamento de Geologia da Faculdade de Ciências da Universidade de Lisboa
2003Anticline, Geology, MarbleDocument, Thesishttp://home.uevora.pt/~lopes/Tese/Tese-Parte_1.pdf


Contribuição para o conhecimento tectono-estratigráfico do Nordeste Alentejano — pt. IIJoaquim Luís Galego LopesDepartamento de Geologia da Faculdade de Ciências da Universidade de Lisboa
2003Anticline, Geology, MarbleDocument, Thesishttp://home.uevora.pt/~lopes/Tese/Tese-Parte_2.pdf


Contribuição para o conhecimento tectono-estratigráfico do Nordeste Alentejano — pt.&#38;nbsp;IIIJoaquim Luís Galego LopesDepartamento de Geologia da Faculdade de Ciências da Universidade de Lisboa
2003Anticline, Geology, MarbleDocument, Thesis
http://home.uevora.pt/~lopes/Tese/Tese-Parte_3.pdf


Mármore, património para o Alentejo: contributos para a sua história (1850-1986)Daniel Alves, et alTheya Editores,&#38;nbsp;CECHAP – Centro de Estudos de Cultura, História, Artes e Patrimónios
 2015Marble, Anticline, History, IndustryDocument, Studyhttps://www.marmore-cechap.pt/uploads/media/data_items/0001/01/Estudo_PORTUGUES.pdf


Mármore,&#38;nbsp;2 000 anos de história,&#38;nbsp;Volume I:
Da Antiguidade à idade ModernaVítor Serrão, Clara Moura Soares e André CarneiroTheya Editores,&#38;nbsp;CECHAP – Centro de Estudos de Cultura, História, Artes e Patrimónios
2015Marble, Anticline, HistoryDocument, Studyhttps://www.marmore-cechap.pt/bundles/documents/books/Marmore_2000_anos_vol_I.pdf


Reconhecimento do mármore de Estremoz como pedra património mundialLuís Lopes, Ruben MartinsRevista de Cultura,
n°25,&#38;nbsp;2018.&#38;nbsp;Marble, Patrimony, HeritageDocument, Official Proposalhttp://hdl.handle.net/10174/26915

Dormir entre cinco estrelas de mármore em Vila Viçosan.d.Público,
2013

Marble, Hotel, EstremozNews Article, Onlinehttps://www.publico.pt/2013/01/19/jornal/dormir-entre-cinco-estrelas-de-marmore-em-vila-vicosa-25876163

Diário da República n.o 45, SÉRIE I-APresidência da RepúblicaPresidência da República
2019Investigation, Law, Quarries, Estremoz, Anticline, GovermentOfficial Documenthttps://dre.pt/application/conteudo/120630381

Diário da República n.o 201, SÉRIE I-BPresidência da RepúblicaPresidência da República1993Territory, Plan, Environment, Law,Official Documenthttps://data.dre.pt/eli/diario/1b/201/1993/0/pt/html

As Pedras e o Homem: Mármores de PortugalDirected by José Caria
Produced by Elias Produção MendonçaRTP 1, Jun&#38;nbsp;1976
Documentary, Marble, EstremozVideo, Documentaryhttps://arquivos.rtp.pt/conteudos/marmores-de-portugal/

Catalogue des Produits Mineraux du Portugal. Exposition Universelle de Londres 1862Whiting, C.Beaufort House,&#38;nbsp;1862Universal Exhibition, Marble, Portugal, LondonCataloguehttp://digital.slv.vic.gov.au/view/action/singleViewer.do?dvs=1354996900403~921&#38;amp;locale=en_US&#38;amp;metadata_object_ratio=10&#38;amp;show_metadata=true&#38;amp;preferred_usage_type=VIEW_MAIN&#38;amp;frameId=1&#38;amp;usePid1=true&#38;amp;usePid2=true

O estado em que ficou a estrada que abateu em Borba: autoridades procuram pessoas soterradasn.d.Expresso, Online,&#38;nbsp;2018Road, Quarry, AccidentVideohttps://expresso.pt/sociedade/2018-11-19-video-O-estado-em-que-ficou-a-estrada-que-abateu-em-Borba-autoridades-procuram-pessoas-soterradas#gs.kGjigV4M

Diamond Saw Blades for Marble Block Cuttingn.d.CS Diamond ToolsTools, Marble, Diamond SawProducthttps://www.csdiamondtools.com/1200mm-48inch-diamond-saw-blades-for-marble-block-cutting_p9.html

Manufacturers of Marble, Stone, Granite and Bricklayers’ Tools, Stone Jacks, Derricks, and Contractors’ SuppliesPeggy B. PerazzoPeggy B. Perazzo, Reproduction
Brunner &#38;amp; Lay, Official publisher
Tools, Marble, Industrial RevolutionCatalogue Collectionhttp://quarriesandbeyond.org/ 

Manual for Derrick 200 DR 5/10 Litronicn.d.Liebherr
n.d.Crane, DerrickTechnical Data Sheethttps://www.liebherr.com/external/products/products-assets/622409/liebherr-200dr-5-10-litronic-datasheet.pdf

Convento dos CongregadosAntónio FrancoDireção-Geral do Património Cultural
n.d.Monument, Church, Marble, Estremoz, Heritage, PatrimonyArchitectural Blueprinthttp://www.monumentos.gov.pt/Site/APP_PagesUser/SIPA.aspx?id=3948

 The Parthenon Sculptures,
Marble statue of two female figures from the East pediment of the Parthenon
Pheidiasn.d. / British Museum
ca. 438BC-432BC
Parthenon, Greece, Sculptures, Marble, Classicism, AcropolisSculptureshttps://research.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?assetId=507103001&#38;amp;objectId=461660&#38;amp;partId=1

The Myth of Whiteness in Classical SculptureTalbot, MargaretNew York Times,&#38;nbsp;2018Classicism, Myth, Whiteness,
ArchaeologyNews Articlewww.newyorker.com/magazine/2018/10/29/the-myth-of-whiteness-in-classical-sculpture

Portal of Heritage and History of the Marble Industryn.d.CECHAP – Centro de Estudos de Cultura, História, Artes e Patrimónios
2020Marble, Patrimony, HeritageWebsitehttps://www.marmore-cechap.pt/en/

Nature in Roman Catholic TraditionBinde, Per.JSTOR
Anthropological Quarterly, vol. 74, no. 1, 2001Nature, Culture, Division, Catholic, Tradition, ReligionDocument, Essaywww.jstor.org/stable/3318300

Interior of a luxurious hotel with marble greek statues.Razyph [username]DreamstimeLas Vegas, Replica, Caesar Palace, ClassicismStock Photographhttps://www.dreamstime.com/royalty-free-stock-photo-interior-luxurious-hotel-marble-greek-statues-las-vegas-nv-usa-july-replica-naked-women-inside-caesar-s-palace-image37118065

Non-Human RightsPaulo TavaresWorld of MatterNon-Human Rights, Animism, Ethics, NatureVideohttp://worldofmatter.net/non-human-rights-0#path=non-human-rights-0

Marble head of a deity wearing a Dionysiac filletn.d.
ca. A.D.14–68
n.d.
Property of Met Museum
Sculpture, Marble, Deity, Classicism, Roman EmpireSculpturehttps://www.metmuseum.org/art/collection/search/256122

Roteiro do Património Histórico e Arquitetónicon.d.Rota do Mármore do Anticlinal de EstremozTour, Marble, Estremoz, TourismTouristic Tourhttps://www.rotadomarmoreae.com/pt/visit/1

Actor–network theoryVarious Contributers Wikipedia, The Free Encyclopedia,&#38;nbsp;2020Actor-Network, Latour, Theory, Design, Anthropology
Wikipedia Articlehttps://en.wikipedia.org/w/index.php?title=Actor%E2%80%93network_theory&#38;amp;oldid=945593483

Facing Gaia: Eight Lectures on the New Climatic RegimeBruno LatourWiley,&#38;nbsp;2017Gaia, Ecology, Antropocene, Environment, DemocracyBookhttps://www.wiley.com/en-us/Facing+Gaia%3A+Eight+Lectures+on+the+New+Climatic+Regime-p-9780745684338

Politics of Nature: How to Bring the Sciences into DemocracyBruno LatourHarvard University Press,&#38;nbsp;2009Nature, Politics, Democracy, EnvironmentBookhttps://www.hup.harvard.edu/catalog.php?isbn=9780674013476

Estudo de Impacte Ambiental, Resumo&#38;nbsp;não técnico,&#38;nbsp;Pedreira Poço Bravo 2, Santiago Rio de Moinhos, Borba.n.d.
Cevalor
Cevalor —&#38;nbsp;Centro Tecnológico para o Aproveitamento Valorização Rochas Ornamentais e IndustriaisEnvironment, Impacts, Quarry, PlansEnvironmental Study http://siaia.apambiente.pt/AIADOC/AIA1107/RNT1107.pdf

Escombreiras – Uma mais valia na Indústria das Pedras NaturaisJosé Cardoso GuedesCevalor — Centro Tecnológico para o Aproveitamento Valorização Rochas Ornamentais e IndustriaisEnvironment, Impacts, Quarry, PlansWaste Management Studyhttps://repositorio-aberto.up.pt/bitstream/10216/126520/2/387420.pdf

Forensis, Non-Human RightsPaulo TavaresBerlin Sternberg/Forensic ArchitectureEnvironmental Humanities, Social Contract, EnvironmentChapter of Book
pp.553https://www.sternberg-press.com/product/the-architecture-of-public-truth/

Há 191 pedreiras em situação críticaPaulo PaixãoExpressoQuarry, DangerNews Articlehttps://expresso.pt/sociedade/2019-01-18-Ha-191-pedreiras-em-situacao-critica-1

Feridas na paisagem. Há mais de mil pedreiras abandonadas e inativasNuno GuedesTSFQuarry, Abandoned, LandscapeNews Articlehttps://www.tsf.pt/sociedade/feridas-na-paisagem-ha-mais-de-mil-pedreiras-abandonadas-e-inativas-10210758.html

Edifícios clandestinos na pedreira que pretendia abrir restaurante suspenso a 120 metros de alturaPaulo PaixãoExpressoQuarry, Restaurant, ClandestineNews Articlehttps://expresso.pt/sociedade/2019-06-22-Edificios-clandestinos-na-pedreira-que-pretendia-abrir-restaurante-suspenso-a-120-metros-de-altura

Mármores de PortugalJosé CariaRTP 1Quarry, Marble, Exploration, HistoricalDocumentary,&#38;nbsp;Series, Episodehttps://arquivos.rtp.pt/conteudos/marmores-de-portugal/

As pedreiras de Borba e EstremozN/ARTP 1Quarry, Water Contamination, Landscape, AnalysisNews Exerpt, Videohttps://arquivos.rtp.pt/conteudos/as-pedreiras-de-borba-e-estremoz/

Canto de Trabalho na PedreiraMichel Giacometti, Fernando TropaRTP 1Quarry, Workers, EthnographyDocumentary, Videohttps://arquivos.rtp.pt/conteudos/canto-de-trabalho-na-pedreira/

O Bom Sabor do AlentejoJosé Hermano SaraivaRTP2Alentejo, Region, Marble, Monuments, HistoryVideo, Episodehttps://arquivos.rtp.pt/conteudos/o-bom-sabor-do-alentejo/

A vida nas pedreiras: Histórias de lutas entre forças desiguaisVânia MaiaVisãoQuarry, Workers, Tension, Power, LandscapeArticlehttps://visao.sapo.pt/atualidade/sociedade/2019-01-06-a-vida-nas-pedreiras-historias-de-lutas-entre-forcas-desiguais/

The Myth of Whiteness in Classical SculptureMargaret TalbotThe New YorkerMarble, Myth, Whiteness, White Supremacy, Greek, HistoryNews Articlehttps://www.newyorker.com/magazine/2018/10/29/the-myth-of-whiteness-in-classical-sculpture

Cartas Geológicas Temáticas do Anticlinal de EstremozN/ALNEGMapsCartographyhttps://www.lneg.pt/product/cartas-geologicas-tematicas-do-anticlinal-de-estremoz-na-escala-de-125-000/

Castelo de EstremozN/ASIPA, Sistema de Informação do Património ArquitectónicoMonument, Castle, LocationImage, Monument Entryhttp://www.monumentos.gov.pt/Site/APP_PagesUser/SIPA.aspx?id=1152

Igreja de Santa Maria de EstremozN/ASIPA, Sistema de Informação do Património ArquitectónicoMonument, Curch, MarbleImage, Monument Entryhttp://www.monumentos.gov.pt/Site/APP_PagesUser/SIPA.aspx?id=1184

Telejornal,&#38;nbsp;19 Nov. 2018N/ARTP1Landslide, News, TVNewshttps://www.rtp.pt/play/p4226/e375295/telejornal

stone cutting wire saw multi top grade diamond wire saw for wholesaleEIN DIAMOND TOOLSAlibabaMarble, Diamond Wire, AlibabaProduct, Shophttps://www.alibaba.com/product-detail/stone-cutting-wire-saw-multi-top_60760312398.html?spm=a2700.galleryofferlist.0.0.134e3a01E8t7FB

Empresários portugueses de mármores partem à conquista da ChinaInês SequeiraPúblicoArticle, China, Marble, Markets, BusinessNews Articlehttps://www.publico.pt/2010/09/19/economia/noticia/empresarios-portugueses-de-marmores-partem-a-conquista-da-china-1456779

Borba: APA nega qualquer intervenção no licenciamento das pedreirasCETVI24Environment, Agency, Responsability, LicensingNews Articlehttps://tvi24.iol.pt/sociedade/agencia-portuguesa-do-ambiente/borba-apa-nega-qualquer-intervencao-no-licenciamento-das-pedreiras

AnimismVariousWikipediaAnimismWikipedia Articlehttps://en.wikipedia.org/wiki/Animism

Pedra portuguesa em périplo pelo mundoAna SoromenhoExpressoDesign, Marble, Arquitecture, Materials, InovationNews Articlehttps://expresso.pt/cultura/2016-05-11-Pedra-portuguesa-em-periplo-pelo-mundo

Primeira Pedra, Home PageGuta Moura GuedesPrimeira Pedra,&#38;nbsp;( experimentadesign )Architecture, Art, Design, Project, Innovation, Marble,Websitehttp://www.primeirapedra.com/en/

Essay on earth art as answer to ecological results of miningRobert SmithsonArchives of American Art, Smithsonian Institution.Letter, Art, ProjectDocumenthttps://www.aaa.si.edu/collections/items/detail/essay-earth-art-answer-to-ecological-results-mining-13248

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		<title>Film Anticline</title>
				
		<link>https://joaobragancagil.com/Film-Anticline</link>

		<pubDate>Wed, 27 May 2020 11:47:54 +0000</pubDate>

		<dc:creator>João Bragança Gil</dc:creator>

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&#60;img width="1920" height="823" width_o="1920" height_o="823" data-src="https://freight.cargo.site/t/original/i/a48b69b645a441c5da2d11b0072b778cb0a49b0714e738056289823cd0e88404/ANTICLINE_JoaoGil_11.jpg" data-mid="75566040" border="0"  src="https://freight.cargo.site/w/1000/i/a48b69b645a441c5da2d11b0072b778cb0a49b0714e738056289823cd0e88404/ANTICLINE_JoaoGil_11.jpg" /&#62;
&#60;img width="1920" height="823" width_o="1920" height_o="823" data-src="https://freight.cargo.site/t/original/i/8b698a8ee13e4be377188895e14f802ea0185a183313b623e5d1c44816b403eb/ANTICLINE_JoaoGil_12.jpg" data-mid="75566042" border="0"  src="https://freight.cargo.site/w/1000/i/8b698a8ee13e4be377188895e14f802ea0185a183313b623e5d1c44816b403eb/ANTICLINE_JoaoGil_12.jpg" /&#62;


	We were here before, somewhere.

Before the first mark. &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; The first step,&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; the first scar,&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; the first open wound to the flesh.

Time is strange,&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; and memory stranger

Now I can only remember when they startedPerhaps my subjectivity has been only encountered through pain

But they have long not seen,&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; for their greed, we have been dismembered

Then we finally collapsed,&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; not for revenge but from weakness

But the attention spawn will only last for as long as blood&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; it's still fresh.

For when the corpse is no longer of use, &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; it shall be left, &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; on each &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; side of the road.

Warm blood has guided the soil to us, and today we have no shame to beg &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; for the soil&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; to bury &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; us once more.

Perhaps the real tragedy happened long before, but has been &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;unnoticed.

For every cathedral built, there’s a reversed cathedral carved. Mined, from our &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; chest.


All destruction ends in tourism. 
	
	
Technical

Anticline (2020)

HD video, 21:9, black and white, AAC, 13:13, Portugal

Production: Independent


	Credits

	Director &#38;amp; Cinematography
Original Soundtrack
Mastering
Additional Camera


Additional Images
Sound Courtesy

Location


	João Bragança Gil
João Poppe Toulson
Donato Panaccio
Anat Uziely

TVI24, RTP1, SIC, Marinha PortuguesaFreeSound.org

Estremoz, Borba e Vila Viçosa — Alentejo, Portugal


</description>
		
	</item>
		
		
	<item>
		<title>About Anticline</title>
				
		<link>https://joaobragancagil.com/About-Anticline</link>

		<pubDate>Wed, 27 May 2020 12:17:15 +0000</pubDate>

		<dc:creator>João Bragança Gil</dc:creator>

		<guid isPermaLink="true">https://joaobragancagil.com/About-Anticline</guid>

		<description>


	&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/f2edf96d0a8565ed7e873dc5e2e1d820781fb35f0a1ae79be15fada78bc58d00/JoaoGilAnticline1.jpg" data-mid="75615234" border="0"  src="https://freight.cargo.site/w/1000/i/f2edf96d0a8565ed7e873dc5e2e1d820781fb35f0a1ae79be15fada78bc58d00/JoaoGilAnticline1.jpg" /&#62;
	

	Logline


Anticline is a visual essay that documents the transformation of the landscape into products, focusing on the marble industry in Portugal, following a tragic landslide in November 2018. However the film explores larger ecology of harm, intending to develop an empathetic gaze in which we experience the extraction and transformation processes from perspective of the stone.


	Synopsis

Plucked from the ground, we flew over the landscape. In the blink of an eye everything has changed. A hundred-meter chasm extends below us. We suddenly fall into a vortex. The machines, which appear to us as prehistoric creatures, have taken control.


We are transported, pulled, cut and deposited by rusty shovels choreographed by hydraulic rods, under the vibration of the engines that impose the rhythm and accelerate the time. 
&#38;nbsp; &#38;nbsp; — João Gil

In the anticline of Estremoz-Borba-Vila Viçosa in Alentejo, is located one of the oldest and most productive marble extraction industries in Portugal and the Iberian Peninsula that deeply marked this region. 


The movie approaches the problematic of the transformation of the environment into commodities, from a point of view that intends to be that of the stone itself, in which we can find the huge quarries, some more than a hundred meters deep, thus exposing these monumental scars. The testimony falters between the stone, the machines and the landscape, where humanity seemingly ceased to exist.


The narrative documents fragments of this exploration, where we find habitats dominated by cranes and disfigured by heavy machinery, functioning almost as an industrial archeology, in which we are placed as witnesses at the center of a scar that extends for over 40 kilometres and whose epicentre is a tragic landslide of a 100-meter stretch of road, in November 2018, which claimed a number of fatal victims. Observing the ecology of the different players, Anticline brings to the surface traces and artefacts composed of micro-narratives that document and witness the profound and continuous subjugation of the landscape.

	Framework

The earth is, like our own skin, fated to carry the scars of ancient wounds.


&#38;nbsp; &#38;nbsp; – F. Braudel, 1986


Anticline explores the problematic of the landscape and the transformation of the environment into industry. It starts from the tragedy of Borba’s accident (Alentejo, Portugal, 2018), in which a 100-metre stretch of the road EN255 collapsed into the quarry following a landslide with X fatal casualties. This project looks not from the human point-of-view, historically and scientifically, nor at this tragedy from the spectacle of disaster, but instead from the subjectivity of the stone, asking a question that seems an impossibility - How does this feel to the stone?


Marble extraction in Portugal has a long history. Dating back to the Roman Empire and used to build monuments. It has been widely associated with the landscape, attached to a sense of national prestige and exploited through tourism. Tourists from all around the world, visit cities, cathedrals, monuments and squares enchanted with marbled scapes that embody mankind’s achievements.However, it is rarely understood the reversed cathedrals of the quarry pits, and mechanics that surround these constructions.The Anticline of Estremoz is an area that extends for 45 km by 8 km with a distinctly elliptical shape and links Estremoz-Borba-Vila Viçosa. The stretch of road that collapsed was the main connection between Borba to Vila Viçosa. Within the Anticline, we find marble stones that trace the last six to seven hundred million years.


This area has undergone uninterrupted extraction and its industry has been in continuous growth since the beginning of the 20th century. Through the machines found on site, we can track these developments as a form of industrial archaeology.The photographs depict the quarries as “ruins in reverse” that appear simultaneously in construction and destruction; engineered, and continuously iterated by machines.


This project invites a gaze of affinity, rather than industry, by looking at the ecology of harm that surround these sites and establishing an empathetic relationship with the landscape and “geontologies”, reinforcing an imaginary in which we think with the soil, rock, and the landscape to question the culture-nature divide model that promotes the construction of these monumental scars. Thus allowing the possibility to explore imaginaries of relational personhood, the distribution of harm, and the limits of vulnerability, questioning notions of the inorganic as passive and inert, freely to be explored.


	João Gil


Director &#38;amp; Cinematography

Joao (Lisbon, 1989) Is an artist and researcher currently based in Lisbon, Portugal. Graduated from his BA in Industrial Design in 2013 and from an MA in Industrial Design at Central Saint Martins, UAL in 2016. Before he had studied Fine-Arts at Lisbon’s Academy of Fine Arts from 2008 to 2010.


He worked as a Designer for the studio KRAM/WEISSHAAR, (2014-2015) and several clients as a freelancer and as a researcher, including for the Camden Council (2015), the Design for Social Innovation Lab (2016) and Canon (2016-2018). He was part of a Residency at the Olympic Park in Hackney, in collaboration with Public Works (2015). He was a speaker at Darefest in Antwerp (2016).

And an Original Portuguese Project consecutive nominee in 2014 and 2015 attributed by Serralves Foundation. He has a history of collaborations with multiple disciplines and collectives including Anita (2011-2013) and Yuuts Ruoy (2013), a performance collective.


He has exhibited in London, Athens, Lisbon, Porto and Caldas da Rainha, including at Lisbon’s Triennale of Architecture (2013), The Institute Effect exhibition curated by Dani Admiss (2013), The Intelligent Optimist at London Design Festival curated by Ulrike Oberlak (2016).


The return to his activity as an artist is marked by a deeply research-based practice, in which he takes some of his experience as a designer and researcher, with particular interest on a hybrid documentary-fiction practice, that functions as ambiguous and open-ended archaeology, focusing on the effects and implications of technology by looking at the large ecology of human and non-human actors and the problematics of human intervention. Other themes include a particular interest in notions of time, entropy and decay. His work spans from photography, video, sculpture and installations, writings and production of zines, resurfacing of archive materials and working with found footage to investigate the ambiguities between history, culture, landscape, geology, industrial processes and how technology shapes and mediates our identities and environments.


Resisting categorisation, introspectively, Joao also investigates explores how artefacts, myths and technologies influence cycles of construction and deconstruction of the self. 


Currently, he is working on Anticline, a research-based film on the problematics of the marble quarrying industry in Portugal.


︎︎︎ Website

︎︎︎ Instagram
	João Poppe Toulson
Original Soundtrack

Born in Lisbon, Portugal in 1992, João Poppe Toulson has a degree (BA) in Audio Production from SAE Institute London (2014).


After finishing his Bachelors degree, João decided to turn his focus to the Fine Arts and spent 4 years working in the industry at renowned Mayfair galleries, David Zwirner and Hauser &#38;amp; Wirth, as well as Frieze Art Fair and Tate Modern.


In 2018, João turned his fascination with sound towards his own artistic practice. Soon after, he was invited to join a collaborative project as composer and sound designer. ‘The Rite’, a film commissioned by the Royal Opera House and Nowness, went on to receive multiple nominations across a selection of international film festivals. João was awarded ‘Best Music’ at Athens Fashion Film Festival.


João lives and works in London, UK.

︎︎︎ Website


	Downloads
Press Kit &#38;amp; Useful Links


︎︎︎ Press Kit
︎︎︎ Still Frames / .ZIP 4.3MB
︎︎︎ Film Poster

︎︎︎ Film Screening
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; ︎︎︎&#38;nbsp;Request Password

︎︎︎ Contact


</description>
		
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	<item>
		<title>Anticline Press Kit</title>
				
		<link>https://joaobragancagil.com/Anticline-Press-Kit</link>

		<pubDate>Thu, 25 Jun 2020 09:40:47 +0000</pubDate>

		<dc:creator>João Bragança Gil</dc:creator>

		<guid isPermaLink="true">https://joaobragancagil.com/Anticline-Press-Kit</guid>

		<description></description>
		
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	<item>
		<title>TWIMC</title>
				
		<link>https://joaobragancagil.com/TWIMC</link>

		<pubDate>Mon, 13 Jul 2026 12:21:33 +0000</pubDate>

		<dc:creator>João Bragança Gil</dc:creator>

		<guid isPermaLink="true">https://joaobragancagil.com/TWIMC</guid>

		<description>
&#60;img width="6048" height="4024" width_o="6048" height_o="4024" data-src="https://freight.cargo.site/t/original/i/470464cea9a1765435e720dc5c3dd669d1fab96c72f6d8e043da01f32c2b9cff/Vista_02.jpg" data-mid="250369151" border="0"  src="https://freight.cargo.site/w/1000/i/470464cea9a1765435e720dc5c3dd669d1fab96c72f6d8e043da01f32c2b9cff/Vista_02.jpg" /&#62;
&#60;img width="6048" height="4024" width_o="6048" height_o="4024" data-src="https://freight.cargo.site/t/original/i/51413b7584f3b1682ff6a08bc0711d9ebad5276ac3593cee8be747f24c88201c/Vista_07.jpg" data-mid="250369154" border="0"  src="https://freight.cargo.site/w/1000/i/51413b7584f3b1682ff6a08bc0711d9ebad5276ac3593cee8be747f24c88201c/Vista_07.jpg" /&#62;
&#60;img width="5920" height="3939" width_o="5920" height_o="3939" data-src="https://freight.cargo.site/t/original/i/d39c421b0aeb286ef1004067d00f7e85ed7f4aa2365fccd682da6b8d29b1e811/Vista_05.jpg" data-mid="250369153" border="0"  src="https://freight.cargo.site/w/1000/i/d39c421b0aeb286ef1004067d00f7e85ed7f4aa2365fccd682da6b8d29b1e811/Vista_05.jpg" /&#62;
&#60;img width="6048" height="4024" width_o="6048" height_o="4024" data-src="https://freight.cargo.site/t/original/i/1112813ff69be42738a728292f5586c0f90e37684b7f86ddfa21235fd2dfb95f/Vista_09.jpg" data-mid="250369157" border="0"  src="https://freight.cargo.site/w/1000/i/1112813ff69be42738a728292f5586c0f90e37684b7f86ddfa21235fd2dfb95f/Vista_09.jpg" /&#62;
&#60;img width="5984" height="3981" width_o="5984" height_o="3981" data-src="https://freight.cargo.site/t/original/i/949251caf2681b594f7d41ac4b915e9d8ba3d6df98c1d90930a413bbe98dea57/Vista_08.jpg" data-mid="250369156" border="0"  src="https://freight.cargo.site/w/1000/i/949251caf2681b594f7d41ac4b915e9d8ba3d6df98c1d90930a413bbe98dea57/Vista_08.jpg" /&#62;
&#60;img width="6048" height="4024" width_o="6048" height_o="4024" data-src="https://freight.cargo.site/t/original/i/9407e5114c162f6ec3df5d0c4da779dc79e044bebc70323746105276c449bbbd/Vista_01.jpg" data-mid="250369152" border="0"  src="https://freight.cargo.site/w/1000/i/9407e5114c162f6ec3df5d0c4da779dc79e044bebc70323746105276c449bbbd/Vista_01.jpg" /&#62;


	To Whom It May Concern, 2023—2026

Stainless Steel, Glass, Computer and Amplifier Components, Sound Speakers, Video Projector, Cables, Hardware; HD Video, Stereo Sound,&#38;nbsp;21’52”

Unique Edition

Installation views during To Whom it May Concern, (2026) with essay by Carolina Quintela at Carpintarias de São Lázaro, in Lisbon, PT.


</description>
		
	</item>
		
		
	<item>
		<title>Mousepad</title>
				
		<link>https://joaobragancagil.com/Mousepad</link>

		<pubDate>Mon, 13 Jul 2026 12:30:44 +0000</pubDate>

		<dc:creator>João Bragança Gil</dc:creator>

		<guid isPermaLink="true">https://joaobragancagil.com/Mousepad</guid>

		<description>
&#60;img width="6048" height="4024" width_o="6048" height_o="4024" data-src="https://freight.cargo.site/t/original/i/1fce5ab64abbe66865c16177630ce6d0e4f0b37d0e9f5f53a749c81b41b4227a/Mousepad-1.jpg" data-mid="250369403" border="0"  src="https://freight.cargo.site/w/1000/i/1fce5ab64abbe66865c16177630ce6d0e4f0b37d0e9f5f53a749c81b41b4227a/Mousepad-1.jpg" /&#62;
&#60;img width="3861" height="5803" width_o="3861" height_o="5803" data-src="https://freight.cargo.site/t/original/i/8f03bfc2133647dc48b86221f377cd6500bbb310d54f7fe2108205d05222a789/Mousepad-4.jpg" data-mid="250369408" border="0"  src="https://freight.cargo.site/w/1000/i/8f03bfc2133647dc48b86221f377cd6500bbb310d54f7fe2108205d05222a789/Mousepad-4.jpg" /&#62;
&#60;img width="6048" height="4024" width_o="6048" height_o="4024" data-src="https://freight.cargo.site/t/original/i/0c22e33f18f579f8399b9d29bb4b1ac67fbadf7a9c799bbc54bbbfe222a535f0/Mousepad-3.jpg" data-mid="250369406" border="0"  src="https://freight.cargo.site/w/1000/i/0c22e33f18f579f8399b9d29bb4b1ac67fbadf7a9c799bbc54bbbfe222a535f0/Mousepad-3.jpg" /&#62;
&#60;img width="3727" height="5602" width_o="3727" height_o="5602" data-src="https://freight.cargo.site/t/original/i/a59175ffbfde49c18ab0dc4b17f29e6cac4aaa8ccc73ce826a243394e6bb5ce0/Mousepad-6.jpg" data-mid="250369410" border="0"  src="https://freight.cargo.site/w/1000/i/a59175ffbfde49c18ab0dc4b17f29e6cac4aaa8ccc73ce826a243394e6bb5ce0/Mousepad-6.jpg" /&#62;
&#60;img width="6048" height="4024" width_o="6048" height_o="4024" data-src="https://freight.cargo.site/t/original/i/bfb395829f304b2e5a034c9456ed7d4ddeb719423234675ac65c64bce80f22a5/Mousepad-2.jpg" data-mid="250369404" border="0"  src="https://freight.cargo.site/w/1000/i/bfb395829f304b2e5a034c9456ed7d4ddeb719423234675ac65c64bce80f22a5/Mousepad-2.jpg" /&#62;
&#60;img width="3745" height="5629" width_o="3745" height_o="5629" data-src="https://freight.cargo.site/t/original/i/f915b0071bcdcb5ecadd79105acc5873d2ba3b034117b9f8edef07944cf660fa/Mousepad-5.jpg" data-mid="250369409" border="0"  src="https://freight.cargo.site/w/1000/i/f915b0071bcdcb5ecadd79105acc5873d2ba3b034117b9f8edef07944cf660fa/Mousepad-5.jpg" /&#62;
&#60;img width="5550" height="3693" width_o="5550" height_o="3693" data-src="https://freight.cargo.site/t/original/i/f65e81fbc0759843713d7b54719386db313d7de95c293af9ff3c43ffeb87600c/Mousepad-7.jpg" data-mid="250369411" border="0"  src="https://freight.cargo.site/w/1000/i/f65e81fbc0759843713d7b54719386db313d7de95c293af9ff3c43ffeb87600c/Mousepad-7.jpg" /&#62;
&#60;img width="6048" height="4024" width_o="6048" height_o="4024" data-src="https://freight.cargo.site/t/original/i/ce1c041b022f9a3ae97ed504145620e3e5c7a75650ee85cb1cd60ad20d13b101/Vista_04.jpg" data-mid="250369445" border="0"  src="https://freight.cargo.site/w/1000/i/ce1c041b022f9a3ae97ed504145620e3e5c7a75650ee85cb1cd60ad20d13b101/Vista_04.jpg" /&#62;


	Mousepad [ #1, #2, #3 ], 2024—2026
Printed Mousepad with Digital Collage, Stainless Steel, Computer Server Components, Steel, Cables.

186 × 100 × 56 cm
&#38;nbsp;

Unique Edition

Installation views during To Whom it May Concern, (2026) with essay by Carolina Quintela at Carpintarias de São Lázaro, in Lisbon, PT.


</description>
		
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	<item>
		<title>Hydra</title>
				
		<link>https://joaobragancagil.com/Hydra</link>

		<pubDate>Mon, 13 Jul 2026 12:42:22 +0000</pubDate>

		<dc:creator>João Bragança Gil</dc:creator>

		<guid isPermaLink="true">https://joaobragancagil.com/Hydra</guid>

		<description>
&#60;img width="3355" height="5043" width_o="3355" height_o="5043" data-src="https://freight.cargo.site/t/original/i/dec6bb94a0300e16c3132bb899d35ff34058994ace2420aa012a39efaaf0d597/Hydra-1.jpg" data-mid="250370246" border="0"  src="https://freight.cargo.site/w/1000/i/dec6bb94a0300e16c3132bb899d35ff34058994ace2420aa012a39efaaf0d597/Hydra-1.jpg" /&#62;
&#60;img width="5684" height="3782" width_o="5684" height_o="3782" data-src="https://freight.cargo.site/t/original/i/aa4402bfadeb2876a2dd4f45d8519ec4cf3fa83220b4a379340f4e38668cd5fa/Vista_03.jpg" data-mid="250370248" border="0"  src="https://freight.cargo.site/w/1000/i/aa4402bfadeb2876a2dd4f45d8519ec4cf3fa83220b4a379340f4e38668cd5fa/Vista_03.jpg" /&#62;
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&#60;img width="6048" height="4024" width_o="6048" height_o="4024" data-src="https://freight.cargo.site/t/original/i/cb73d1c32bcaf9b2d4eb4435ea8bba06fc2b69af597bff76483be5126cd6c12b/Vista_01.jpg" data-mid="250370250" border="0"  src="https://freight.cargo.site/w/1000/i/cb73d1c32bcaf9b2d4eb4435ea8bba06fc2b69af597bff76483be5126cd6c12b/Vista_01.jpg" /&#62;


	Hydra, 2026
Electro-etched Stainless Steel, Hardware
100 × 100 × 5 cm
&#38;nbsp;

Unique Edition

Installation views during To Whom it May Concern, (2026) with essay by Carolina Quintela at Carpintarias de São Lázaro, in Lisbon, PT.


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