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Abstract

The decentralized essays and images of this research delve into a series of artistic works created by Benedito Ferreira between 2013 and 2024. These productions primarily engage with the artist’s relationship Goiânia downtown, revealing the dynamics used in conducting his enactments, capable of activating meanings within and beyond the frame. They also scrutinize the challenges, complexities, and scope of encounters with his interlocutors, aiming to situate the images in a discourse that either exalts or demystifies a certain notion of "goianidade”, i.e., belonging to Goiás state, Brazil. These are images that outline daily life, a set of notes and shared memories with their leaps and imperfections. Through them, the research articulates the idea of collectivity in a particular sense, concerning what has happened and what is happening. By conceiving montage as a curatorial gesture par excellence, it extracts from it three conceptual approaches: the dubious pain, by breaking the axioms of the fields of "fiction" and "documentary"; the spectral frustration, by reducing the expectation of reception in spectators; and the labyrinthine profusion, by inciting deliberate erasures from the archives. Finally, it uses fiction as an imaginative tactic for envisioning futures, by embracing interviews, the malleability of text and photography, or even the approach between lyricism and triviality