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Common People Inventory

Inventário Popular Comum (portuguese for “Common People Inventory”) or IPC, is a project that starts from a collection of over 500 (five hundred) 3x4 photographs, all black & white (with the exception of two), dated from the 1960s, 70s, and 80s found in a thrift shop in the year 2016. The research weaves dialogues between memory, politics, otherness, historical narrative, and fiction, through a movement of (re)inventing the stories of the people portrayed in the collection, assuming multiple formats and experiments along the way. Faced with the impossibility of tracing the origin of the images and recovering the stories of the people depicted, a collection of accounts/narratives from different people begins, in the form of activation (in-person and online), in different situations, about who they imagine these individuals are, were, or could have been.

This is a website-device through which people from anywhere in the world can access the IPC's base file and narrate their own stories about the images anonymously. The handwritten narratives, present in some photographs, were produced by participants in the in-person activations conducted in some situations, such as during the exhibition 'O que não cabe no leito transborda para a foz, o que não cabe no peito transborda para a voz | Transfluências Exhibition: 7th Meeting of Visual Arts Researchers of the State of RJ,' held at the Paço Imperial, Rio de Janeiro, RJ, in November 2022.

 

The narratives produced through the website-device and in-person activations will be incorporated into various artistic formats, such as an artist's book, with an expected release in 2025.

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The author

SARA MOSLIOuro Preto/MG, 1994. Artist-researcher, graduated in Visual Arts from the Federal University of Minas Gerais, holds a master's degree in Aesthetics and Philosophy of Art from the Federal University of Ouro Preto, and is a PhD student in Contemporary Studies of the Arts at the Federal University Fluminense, currently in a doctorat-sandwich in the Université Paris 1 - Panthéon Sorbonne.

Taking into account the construction of subjectivities within the context of discourses (political, social, historiographical, etc.), she works with multiple materialities, expanding the boundaries between literature, photography, drawing, and textiles. Engaged in both long-term projects and immediate-result works, she can be defined as a researcher of time in its various folds and resonances.

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© Sara Mosli, 2023.

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