In the preface to his book Why people photograph, Robert Adams mentions a recurring idea in his writings: “the effort we all make, photographers and nonphotographers, to affirm life without lying about it”. This was the challenge for visiting today the neighbourhoods built under SAAL, a housing program implemented during the Portuguese revolutionary period that sought to improve the housing conditions of the poorest classes based on a collective effort and the aspiration for a more equitable life for all.
Photographing the neighbourhoods built under the Carnation Revolution required the openness to understand the life and the different fates that each neighbourhood has had, 50 years on since the 25th of April, in an effort to escape an outdated and nostalgic/melancholic gaze linked to the moment of its conception. Besides trying to understand the characteristics of the neighbourhoods in terms of its integrity, community life, conservation and ownership, this work also required a willingness to establish a link to affections, contributing to the multiplication of hypotheses in the construction of an imaginary, where ideas of time, restriction and freedom
fit in. The construction of a dialogue is fundamental for promoting an encounter, a negotiated proximity between the photographer and the depicted objects, similar to what John Berger suggests about the act of painting. Perhaps this negotiation, or the search for the right distance, can be an approach to the affirmation of life.
Cover image: Fonsecas-Calçada, Lisbon, SAAL neighbourhood, 2023.