The objective of the proposed article is to outline, historically, the career of photographer and photography editor Ricardo Chaves, born in Rio Grande do Sul, Brazil. He is a significant mark in the photojournalism practiced in Rio Grande do Sul. He has been a photography editor of Zero Hora newspaper for 20 years, and followed the historical central moments of the state, the country and the world. He has been covering events of the most varied shades, whether at the service of newspapers such as Zero Hora, O Estado de S. Paulo or through the weekly information magazines Veja and IstoÉ, among other large-scale journalistic publications in Brazil. The photojournalism practiced by Ricardo Chaves, producing or editing photography, will be addressed. There are reasons to believe that the photograph exercised by Ricardo Chaves, capturing images or editing them, is indicative of the photography called minor (Gonçalves, 2006). Minor, in this context, refers to a photograph with reflective power, which takes the reader out of their comfort zone, leading them to be a sense hunter, like the photographer. This way of photojournalistic making, especially in daily photojournalism, stands as a vanguard practice, stepping away from the mainstream. The concept of Smaller Photography seeks to expose that the degree of adherence of the images to the reference is variable, with different loads of subjectivity or objectivity according to the traditional relations of these images with time and space. Minor alludes to and is inspired by Deleuze and Guattari (2002) when they refer to the literature produced by Kafka, believing it is possible to bring this “minor” concept to photography, for every image that germinates, subverts, displaces and disturbs, to provoke reflection.
Therefore, Ricardo Chaves, an expressive photographer with his stubbornness, accurate sensitivity, journalistic instinct and passion photography was able to reward his readers with these “Minor”; images, revealing that life pulsates beyond the photographic reference. In this sense, his work is revolutionary and states his commitment to the causes of his time. In the images presented here, Ricardo Chaves confronts the petty- bourgeois common sense constructed by values derived from the capitalist mode of production. A multifaceted and destabilizing output of established truths derives from this. The photography of Ricardo Chaves thinks. The reference for the construction of the proposed article will come from interviews with the photographer, as well as publications about his work (newspapers, magazines), documents and materials provided by him, among other possible sources. To deal with the actual photojournalistic issues and its routines, different authors of the area will be called.


Andréa Brächer

Professor in the Department of Communication in the Faculty of Arts and Communication, Universidade Federal do Rio Grande do Sul – Researcher in the field of Photography. Andréa Brächer has a background in Communication and Art. Graduated in Publicity and Advertising from the Faculty of Arts and Communication of the Universidade Federal do Rio Grande do Sul (2001), she has a Master’s degree in History, Theory and Criticism of Art by the Post-Graduate Program in Visual Arts of the Federal University of Rio Grande do Sul (2000) and a PhD in Visual Poetics (2009) in the same Program. She was a CAPES fellow in 2008 in a PhD at the University of the Arts London. She has developed a Senior Internship at the University of the Arts London (Dec.15 – Feb. 16) as a CAPES fellow. Teacher and artist, she focuses on teaching and researching photography in its historical perspective, specifically techniques and historical photographic processes of printing of the 19th century. She has participated in the Brazilian artistic circuit in individual and collective exhibitions since 1999. Her works span the most diverse chemical experiments and their intersections with digital technologies. Some of it is on the artist’s official website She is the Coordinator of the Study Group on Historical and Alternative Photographic Processes – Lumen. Member of the Research Group on History of Communication at FABICO / UFRGS. Visual Artist. 

Sandra Maria Lúcia Pereira Gonçalves
Researcher and Associate Professor in the Department of Social Communication, Faculty of Library Science and Communication, Universidade Federal do Rio Grande do Sul (UFRGS), Brazil, in the area of Photography. Visual artist, she has been dedicated to photography since the 1990s. She holds a degree in Visual Communication from the School of Fine Arts of the Universidade Federal do Rio de Janeiro (UFRJ) – 1980s, Brazil. In the 1990s, she took a Master’s degree and a PhD in visual communications from the School of Fine Arts of UFRJ. She has been producing and exhibiting works related to photography that have, as a starting point, the analog photography since 2000. She has been studying photography at the Universidade Federal do Rio de Janeiro (UFRJ) with themes linked to reflections about time. She regularly publishes articles that reflect on the photographic. Her current academic research focuses on issues related to the visual narratives produced by photographers who have their field of work in the applied photograph but create expressive and expanded photographic narratives in photobooks. Member of the Study Group on Historical and Alternative Photographic Processes – Lumen and of the Research Group on History of Communication at FABICO / UFRGS. Visual Artist. 


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