#3 The House of the White Crabs
Built in the nineteen century, the house now sits on the corner of one of Saligao’s busiest roads. Around fifteen years ago, following the partitioning of an inheritance it was divided into two independent dwellings. After climbing the entrance steps, two entrance doors lead to two very different domestic arrangements open up to visitors– a suitable setting for the two nonconformist reflections on the question of the family space that GoaPhoto proposes:
On the left, the paintings that fill the studio of the figurative painter Francis Desousa converse with Stéphane Winter’s unique family album “The Winter”, which spans 23 years of the photographer’s life. Adopted by a Swiss middle class couple in 1975 when he was one year old, Stéphane started clicking these playful family snapshots when he was just fifteen. The inevitably amateur feel of the early images gives way to a deliberate amateur aesthetic in the later works. What remains constant, however, is the non-stop enjoyment the Winters seemed to find in staging photographs for their photographer-son and act as a reminder that unconventional families are happy in their own way.
The other entrance door leads to Patsy’s cozy living-room, where the Spanish photographer Bego Antón’s exploration of the Musical Canine Freestyle -dancing contests of dogs and their mostly female owners in the USA – is displayed. Antón gained access to their homes and witnessed choreographies performed candidly and without any trace of irony.
In the words of Jesús Micó, Antón becomes “a supertourist in other people’s extravagance” and allows us a glimpse into a subculture where Everybody Loves to Cha-cha-cha.