Julio Bittencourt

Brazil

 

The Artist

Julio Bittencourt grew up between Sao Paulo and New York.

 

His main  interest is to, through different stories, investigate the relationship between man and his environment.

 

His works have been exhibited in museums and galleries in several countries and published in magazines such as Foam Magazine, GEO, Stern, TIME, The Wall Street Journal, Courrier International, C Photo, The Guardian, The New Yorker, Esquire, French Photo, Financial Times, Los Angeles Times, The Huffington Post, LFI and Leica World Magazine, among several others.

 

Julio Bittencourt is the author of three books - "In a window of Prestes Maia 911building", "Ramos" and "Dead Sea".

 

  • AESTHETICA ART PRIZE - Shortlisted - 2017

  • XIII PREMIO MARC FERREZ DE FOTOGRAPHIA – 2013

  • INTERNATIONAL PHOTOGRAPHY AWARDS  - IPA Collage Prize - 2012

  • INTERNATIONAL PHOTOGRAPHY AWARDS  - IPA Fine Art Prize - 2012

  • PORTO SEGURO PRIZE (Category Brazil) - 2010

  • FUNDACAO CORRADO WESSEL PRIZE - 2009

  • PAUL HUF AWARD (Nominee) - 2009

  • LEICA OSKAR BARNACK AWARD - 2007

  • APERTURE PRIZE – 2007

  • FUNDACAO CORRADO WESSEL PRIZE - 2006

 

Awards

" Prestes Maia 47" - Julio Bittencourt

"In a Widow of Prestes Maia 911 Building" Series

International Photsgraphy Awards 2012

© all rights reserved

 

 
Prestes Maia 47.jpg

" Prestes Maia 01" - Julio Bittencourt

"In a Widow of Prestes Maia 911 Building" Series

© all rights reserved

 

" Prestes Maia 11" - Julio Bittencourt

"In a Widow of Prestes Maia 911 Building" Series

© all rights reserved

 

"In a Window of Pretes Maia 911 Building"

Photography and the metropolis have a common history, both are typical phenomenon of modern times, products of technical rationality turned to the masses as useful objects or dedicated to contemplation. In this coexistence, the city offers itself to photography as a support and photography welcomes the city as a privileged theme where both experience crisis due to their expansion and pressure of its barriers.

 

Since its origin, photography has placed itself in an ambiguous position: Was presented as a precise way of record, but tried to assert itself as an aesthetic form of expression open to subjectivity.

 

Instead of addressing this dual nature, history has conducted it to a split: On one side a documentary orientation, the photo-journalism, the scientific research, the legal proof, the social complaint; on the other its possibilities of manipulation, its dialogues with painting then with leading movements, other contamination of different techniques until its presence in art galleries.

 

The symbolic barrier that separates art from documentation was never less threatened by both sides. Today, a more systematic and conscious invasion of these territories puts at risk the categories we use to understand photography but recover the value of its complexity that took us a long time to recognize.

 

What we see in this work are negotiated images, poses that do not hide the influence of the photographer on the environment. The result is consciously built. It is a work of engaged expression but that avoids drama through the rigor of a game that the photographer suggests to himself: to look at windows, from windows, something that reflects our fragmentary experience with the city. By making these manipulations clear, these images still remain valid as a document, nevertheless make us face reality and touch wounds felt daily.

Makes us reflect about our cities, parallel to photography also in its problems.

 

The city expands itself and constitutes an even more problematic crisis because it finds the pressure of barriers that are both symbolic and physical: regions, neighborhoods and surroundings, but also walls and geographical accidents. In its attempt of accommodation: builds, destroy, reconstructs, leaves and redefines its spaces. Today, some wishes are unanimous: We must revitalize our cities. But its significance is somewhat controversial: Modify its duties and functions or just the landscape? Reorganize it or promote an aseptic? Change its habits or also its inhabitants?

 

These images do not offer an answer, but talk about the complexity of the forces that are at stake. Show the decadence of the materials and the dignity that survives behind

them. Recalls that the field of architecture is not only the concrete. Reveals the

 

absurdity of an urban policy that does not integrate its inhabitants into society but

protects them from it and vice-versa.

 

This is just another meeting between photography and the city, but much emblematic of what is behind their respective crisis. At the end, it leaves us to discuss the legitimacy of some demarcated areas or unlike, of the movements that leads them to its transgressions.

Ronaldo Entler

 
 

"Ramos 42 " - Julio Bittencourt

Ramos Series

© all rights reserved

The beach is a playground where people can be themselves: they sun-bathe, gossip,

swim, picnic and purchase all manner of goods. Countries display their national characteristics on the beach, adding to the delight of this theatre. If you are in Mexico, people bathe wearing tee shirts; on a British beach we have drizzle and stripey deck chairs; and on Spanish playas you can watch the morning perambulations of the over 50s along the stretch of sand at the water’s edge.

 

I love photographing people. Best of all, I love photographing people on beaches. Beach photography has become a great tradition within photographic culture, comparable in one sense to street photography. Being such a fan of beach photography myself, I always enjoy seeing other peoples’ beach photos.

 

On two occasions, I have been stopped in my tracks when coming across a new folio of such kind of photographs. The first time was when I discovered the work of Carlos Pérez Siquier, a Spanish photographer working in the early 1970s,

who distilled beach details into strong, graphic, colour images. This is all the more remarkable as – back then

– colour was not taken that seriously, being regarded as the domain of snapshot and commercial photography. Siquier’s images were so different to anything I had seen before that they really did excite me.

 

The second time, around three years ago while preparing an issue of C Photo on new Latin photographers for

Ivory Press in Madrid, was when I encountered Julio Bittencourt’s Ramos series. Here were images that exuded both energy and chaos, with a very strong dynamic. I had never seen a beach scene like this anywhere. But it is one thing finding and gaining access to an extraordinary location, it is so much more difficult to translate the spirit of the place into photographs, as Bittencourt had done so effectively.

 

Of course I included these images in our Latin issue, but I was also keen to meet the photographer and find out more about the location, how he discovered this remarkable beach and how he set about shooting this work.

 

A year or so later, I met Bittencourt in his home city of São Paulo and the full story unfolded. Ramos is a new and artificial beach, an enormous ’swimming pool’ (hence its popular name, ’Piscinão de Ramos’) surrounded by sand and filled with seawater. It is located near a polluted beach, 24 kilometers north of the decidedly upmarket

– and of course much better known – Copacabana. Bittencourt spent four seasons shooting at Ramos, initially commuting in and out, but latterly staying in a small cottage just near the beach. Although a suburban beach in Rio – where one could expect a certain resistance to his presence due to any unofficial command held over the area by local groups –, people were pretty friendly. Nevertheless he did have a minder – Behaga – to help him with access and ease any problems. Behaga would advise

Bittencourt as to when it was ok to shoot, and when to keep the camera down.

 

And so to the photos: what an amazing medley of bodies, food, sun cream and of

course sunburnt flesh. Simultaneously atmospheric and surreal, you can almost smell the beach when you look at these images.

 

You get a feel for what it must be like to actually be there. Bittencourt comes in close when he needs to, then takes us further back to reveal something more about this extraordinary place.

 

We all know that good photography is by nature highly subjective. This is Julio Bittencourt’s personal vision of Piscinão de Ramos. He has made the beach his own, and his engagement is revealed through the pages of this book.

Martin Parr

"Plethora Tokyo Subway" (Polyptych)

Julio Bittencourt - Plethora Series

© all rights reserved

 

According to Hanna Arendt, modern society, as a society of labor, annihilates every possibility of acting, degrading humans to animal laborians, working animals. The modern individual seems so immersed in the life process current that dominates the generation, that the only active individual decision is how to renounce individuality in order to function better.

 

What are the implications of an increasingly crowded civilization, surrounded by an excess of information and stimuli? Continuously expanding, humanity appears cloistered in itself, either by mandatory work, fleeting entertainment or simply by routine. Development through factors such as GDP growth, personal income, industrialization, technological advancement or social modernization, has led us to the exponential increase of the world population, yet not emerging as a guarantee of individual liberties expansion.

 

Plethora exhibition observes and analyses different human groups in large urban centers, restoring each ones way of life in their diverse aspects. Regardless of the location (Sao Paulo, New York, Tokyo, Mumbai, Beijing and Jakarta) or the topic addressed, confinement is a common theme. In each image there is a certain body restraint: even when the methods of locking or correcting are not clearly exposed, as in Locked Up, it is always about the body  the body and its forces, its seclusion and submission. From employees locked in offices to workers boxed in capsule hotels, deprivation passes from a precept of unbearable sensations to an economy of suspended rights.

 

As in previous series, Julio Bittencourt (once again) plays with the duality of photography, exploring it both in its documentary and conceptual character. Without its journalistic commitment to reality and using its own creative possibilities, the artist does not seek to answer the detailed questions at the exhibition, but provokes us to debate over the consequences of an overpopulated world.

 

Paulo Kassab Jr.

"Ramos 53 " - Julio Bittencourt

Ramos Series

© all rights reserved

"Ramos"

"Plethora"

 
DEAD SEA 05.JPG

"Solo Exhibitions"

"Dead Sea 05" - Julio Bittencourt

Plethora Series

© all rights reserved

 

2019

  • Ramos, Paris Photo | Galeria Lume, Paris Photo, Paris, France

  • Ramos, F2 Fotofestival | Dortmund, Germany

  • Plethora, Galeria da Gavea, Rio de Janeiro, Brazil

2018

  • Plethora, Leica Gallery, Wetzlar, Germany

  • Plethora, Leica Gallery SP, Brazil

2017

  • In a window of Prestes Maia bldg, Embassy of Brazil / Photometria, Athens, Greece

  • Plethora, Galeria Lume, Sao Paulo, Brazil

2016

  • Ramos, Valongo Festival Internacional da Imagem, Santos, Brazil

  • Ramos, Casa de Cultura Laura Alvim, Rio de Janeiro, Brazil

  • Kamado, Galeria da Gavea, Rio de Janeiro, Brazil

2014

  • Some Things are lost never to be found again, 1500 Babilonia, Rio de Janeiro, Brazil

  • Some Things are lost never to be found again, XIII Premio Marc Ferrez, Parque Mario Covas, Sao Paulo, Brazil

  • Some Things are lost never to be found again, XIII Premio Marc Ferrez, Praça da Se, Sao Paulo, Brazil

  • Some Things are lost never to be found again, XIII Premio Marc Ferrez, Praça Buenos Aires, Sao Paulo, Brazil

  • Ramos, Traveling Film Festival, Rennes, France

2012

  • Ramos, Galeria Zoom (Flip Fair), Paraty, Brazil

  • In a window of Prestes Maia bldg, Festival Photo Peouples * Nature, La Gacilly, France

2011

  • Ramos, 1500 Gallery, New York, NY

  • Ramos, Galeria da Gavea, Rio de Janeiro, Brazil

2010

  • In a window of Prestes Maia bldg, Fnac Bilbao Alameda, Bilbao, Spain

  • In a window of Prestes Maia bldg, Fnac Plaza Imperial, Zaragoza, Spain

  • In a window of Prestes Maia bldg, Fnac Donostia-San Sebastian, San Sebastian, Spain

  • In a window of Prestes Maia bldg, Fnac Diagonal Mar, Barcelona, Spain

2009

  • In a window of Prestes Maia bldg, Fnac Parquesur, Madrid, Spain

2008

  • In a window of Prestes Maia bldg, 5th Amnesty International Human Rights Prize, Berlin, Germany

  • In a window of Prestes Maia bldg, Fnac Almada, Lisbon, Portugal

  • In a window of Prestes Maia bldg, Fnac Coimbra, Coimbra, Portugal

  • In a window of Prestes Maia bldg, Fnac Matosinhos, Porto, Portugal

  • In a window of Prestes Maia bldg, Fnac Viseu, Viseu, Portugal

  • In a window of Prestes Maia bldg, Fnac Chiado, Chiado, Portugal

  • In a window of Prestes Maia bldg, Cicero Galerie, Berlin, Germany

  • In a window of Prestes Maia bldg, Point of View Art Gallery, New York, USA

 
201 POLYPTYCH 01.JPG
 
 

"201 - Polyptych" - Julio Bittencourt 

Plethora Series

© all rights reserved

 

"Group Exhibitions"

2019

  • Ramos, "Praia", Galeria da Gávea, Rio de Janeiro, Brazil

  • Ramos, "O Rio dos Navegantes", MAR (Museu de Arte do Rio), Rio de Janeiro, Brazil

2018

  • Ramos & In a window of Prestes Maia bldg - "From the Collection of the Kiyosato Museum of Photographic Arts: Beginnings, Forever", Tokyo

  • Photographic Art Museum, Tokyo, Japan

  • Ramos & In a window of Prestes Maia bldg - "From the Collection of the Kiyosato Museum of Photographic Arts: Beginnings, Forever", National Taiwan Museum of Fine Art, Taichung City, Taiwan

2017

  • Plethora, "Poder e Sufocamento" - Marcos Amaro Foundation, MIS (Museum of Image and Sound), Sao Paulo, Brazil

  • Ramos & Citizen X, "Corpus" - Leica Gallery Sao Paulo, Sao Paulo, Brazil

  • Plethora, Aesthetica Art Prize, York Art Gallery, York, UK

  • In a window of Prestes Maia bldg, Modos de Ver o Brasil: Itau Cultural 30 anos, Oca Museum, Sao Paulo, Brazil

  • In a window of Prestes Maia bldg, 'Antilogias: o fotografico na Pinacoteca’, Pinacoteca Art Museum, Sao Paulo, Brazil

  • Ramos, Yes, Nós Temos Biquíni, CCBB, Rio de Janeiro, Brazil

  • Ramos, Quando o Mar Virou Rio, National History Museum, Rio de Janeiro, Brazil

  • Ramos, MIS (Museum of Image and Sound), Rio de Janeiro, Brazil

  • Ramos, La Quatrieme Image, Paris, France

2016

  • Ramos, Linguagens do Corpo carioca (a vertigem do Rio), Museu de Arte do Rio, Rio de Janeiro, Brazil

  • In a window of Prestes Maia bldg, Photometria Photo Festival, Ioannina, Greece

  • In a window of Prestes Maia bldg, Kiyosato Museum of Photographic Arts, Young Portfolio Acquisitions, Yamanashi, Japan

2015

  • Ramos, Kiyosato Museum of Photographic Arts, Young Portfolio Acquisitions, Yamanashi, Japan

2013

  • Citizen X, Fundacao Conrado Wessel, Biblioteca Central da (UFPE) -  Universidade Federal de Pernambuco, Recife, Brazil

2012

  • Ramos, 25 International Book Fair of Bogota, Colombia

  • Ramos, Mag! Sao Paulo, Fashion Week, Bienal de Sao Paulo, Brazil

2011

  • In a window of Prestes Maia bldg, Noordelicht Photo Festival, Groningen, Netherlands

  • Ramos, Praia, Galeria da Gavea, Rio de Janeiro, Brazil

2010

  • In a window of Prestes Maia bldg, Brazilian, 1500 Gallery, New York, USA

  • Ramos, Premio Porto Seguro de Fotografia, Espaço Porto Seguro, Sao Paulo, Brazil

  • In a window of Prestes Maia bldg, Polka Galerie, Paris, France

  • In a window of Prestes Maia bldg, Verve Gallery, Santa Fe, US

  • In a window of Prestes Maia bldg, Do Espaço Estilhaçado, Micasa Gallery, Sao Paulo, Brazil

  • In a window of Prestes Maia bldg, Angkor Photo Festival, Angkor, Cambodia

2009

  • In a window of Prestes Maia bldg, Fache Arts + Amy Alonso Gallery, Miami, FL, USA

  • Citizen X, Consciences and Frontiers, Alte Post Neulkolln, Berlin, Germany

  • Ramos, Dazed & Confused, Centro Cultural da Justiça Eleitoral, Rio de Janeiro, Brazil

  • In a window of Prestes Maia bldg, Bienal de la Photographie de Paris -Photoquai, Paris, France

  • Ramos, Convergencias, Galeria da Gavea, Rio de Janeiro, Brazil

2008

  • In a window of Prestes Maia bldg, Passport to the Arts - The New Yorker, New York, USA

  • In a window of Prestes Maia bldg, Leica Art Gallery, Solms, Germany

  • America at Home, various locations throughout the USA

  • In a window of Prestes Maia bldg, Museo Nacional de Artes Visuales, Montevideo, Uruguay

  • In a window of Prestes Maia bldg, Leica Art Gallery, Prague, Czech Republic

  • In a window of Prestes Maia bldg, Leica Art Gallery, Vienna, Austria

  • In a window of Prestes Maia bldg, XV Encuentros abiertos de fotografia, Buenos Aires, Argentina

  • In a window of Prestes Maia bldg, Centro Cultural Recoleta, Buenos Aires, Argentina

  • In a window of Prestes Maia bldg, Leica Art Gallery, Tokyo, Japan

  • In a window of Prestes Maia bldg, Leica Art Gallery, Melbourne, Australia

  • In a window of Prestes Maia bldg, Festival Foto America, Santiago, Chile

  • In a window of Prestes Maia bldg, Museo Nacional de Bellas Artes, Santiago, Chile

2007

  • In a window of Prestes Maia bldg, Rencontres d’Arles, Arles, France

  • In a window of Prestes Maia bldg, Semana Negra, Gijón, Spain

  • In a window of Prestes Maia bldg, 1 Forum Latino-Americano de Fotografia - Itau Cultural, Sao Paulo, Brazil

  • In a window of Prestes Maia bldg, Leica Art Gallery, Istanbul, Turkey

  • In a window of Prestes Maia bldg, Sao Paulo Museum of Art (MASP), Sao Paulo, Brazil

  • In a window of Prestes Maia bldg, Coleção Pirelli / Masp, Sao Paulo Museum of Art (MASP), Brazil

  • In a window of Prestes Maia bldg, Museum Nacional, Brasilia, Brazil

"Art Fairs"

2019

  • Plethora, Galeria Lume, SP-Arte, Sao Paulo, Brazil

2018

  • Plethora, Galeria Lume, SP-Arte/Foto, Sao Paulo, Brazil

  • Plethora, Galeria Lume, SP-Arte, Sao Paulo, Brazil

2017

  • Ramos & Plethora, Galeria Lume, SP-Arte/Foto, Sao Paulo, Brazil

  • Plethora, Galeria Lume, SP-Arte, Sao Paulo, Brazil

  • Ramos, Galeria Lume, SP-Arte, Sao Paulo, Brazil

2016

  • Plethora, Galeria Lume, SP-Arte, Sao Paulo, Brazil

  • Ramos, Galeria Lume, SP-Arte, Sao Paulo, Brazil

  • Kamado, Galeria da Gavea, ArtRio, Rio de Janeiro, Brazil

  • Plethora, Galeria Lume SP-Arte/Foto, Sao Paulo, Brazil

  • Plethora, Galeria da Gavea SP-Arte/Foto, Sao Paulo, Brazil

  • In a window of Prestes Maia bldg, Galeria Lume, SP-Arte/ Foto, Sao Paulo, Brazil

  • In a window of Prestes Maia bldg, Galeria Lume, SP-Arte, Sao Paulo, Brazil

2015

  • Kamado, Galeria da Gavea, SP-Arte/Foto, Sao Paulo, Brazil

  • Kamado, Galeria da Gavea, SP-Arte, Sao Paulo, Brazil

2014

  • Some Things are lost never to be found again, 1500 Babilonia, SP-Arte/Foto, Sao Paulo, Brazil

  • Kamado, Galeria da Gavea, SP-Arte/Foto, Sao Paulo, Brazil

  • Kamado, Galeria da Gavea, SP-Arte, Sao Paulo, Brazil

2013

  • Ramos, Galeria da Gavea, ArtRio, Sao Paulo, Brazil

2012

  • In a window of Prestes Maia bldg, 1500 Gallery, SP-Arte/ Foto, Sao Paulo, Brazil

  • Some Things are lost never to be found again, 1500 Gallery, SP- Arte, Sao Paulo, Brazil

2011

  • In a window of Prestes Maia bldg, Polka Galerie, Madrid Foto, Spain

  • In a window of Prestes Maia bldg, 1500 Gallery, Art San Diego, USA

  • Ramos, Galeria da Gavea, SP-Arte, Sao Paulo, Brazil

2010

  • In a window of Prestes Maia bldg, 1500 Gallery, Pinta NY, New York, USA

  • Ramos, Galeria da Gavea, SP-Arte/Foto, Sao Paulo, Brazil

2009

  • In a window of Prestes Maia bldg, Dusseldorf Art Fair, Germany

  • Citizen X, Bolsa de Arte, SP-Arte/Foto, Sao Paulo, Brazil

"Group Exhibitions & Art Fairs"

LOCKED UP 3.jpg

"Selected Portfolios, Features & Reviews"

"Locked Up 3"  - Julio Bittencourt

Plethora Series

© all rights reserved

 

"Locked Up 6" - Julio Bittencourt 

Plethora Series

© all rights reserved

 

  • PDN, “Ramos” - Not quite the postcard, November 2019, Samantha Reinders.

  • Le Quotidien de l"Art, "Ramos", 10 photographes à la loupe, November 2019, Rafael Pic, Sophie Bernard, Laure Martin.

  • European Photography, "Cover" - Forty Years Anniversary Issue - Plethora, Dead Sea, July 2019, Andreas Müller-Pohle & Jhoanne Baterna-Pateña.

  • O Globo, Fotógrafo brasileiro flagra a solidão em metrópoles como Pequim, Tóquio e NY, July 2019, Nelson Gobbi.

  • LFI / Leica Fotografie International, "Cover" - Plethora, Dead Sea, August 2018, Inas Fayed.

  • FOAM, Water Issue, "Ramos", 2018, Thyago Nogueira.

  • Revista Casa Claudia, 'Olhar Único", March 2018, Daniel Tavares.

  • Elle Brasil, "Chuva de Likes", August 2017, Bruna Bittencourt.

  • La Maleta de Portbou, "Portfolio", July 2017.

  • Aesthetica Magazine, "Aestethica Art Prize 2017, March 2017.

  • Luvina, Revista Literaria de La Universidad de Guadalajara, Mexico, March 2017.

  • Leica Camera AG, Ten years ago he was honored with the Leica Oskar Barnack Award. Find out how life has changed for Julio Bittencourt since then, February 2017.

  • Agon, "In a window of Prestes 911 bldg", Ήθελα να πω μια ιστορία με διαφορετικό τρόπο, June 2016.

  • O Globo, "Kamado", Julio Bittencourt registra resquicios de afeta em ilha fantasma do Japao, May 2016, Nani Rubin.

  • Pri/ BBC, "Ramos", Banned from the beach pollution, these Brazilians brought beach culture to a lake, March 2016, Steven Davy.

  • Arte Al Limite, "Kamado", Sudor Fotográfico, Impacto Latino, January 2016,

  • Letícia Abramec.

  • L'Oeil de la Photographie, "Ramos", Books at Paris Photo 2015, November 2015 , Irène Attinger.

  • L'Insensé, "Ramos", Latin America, November 2015.

  • R7, "Ramos", Livro de fotos mergulha no Piscinão de Ramos, September 2015, Silvia Ribeiro.

  • Folha de Sao Paulo, "Ramos", de Julio Bittencourt, September 16.

  • Livraria da Vila, "Ramos", Um mergulho surpreendente, Sergio Ribamar, August 13.

  • The Huffington Post, "Ramos", 10 International photographers who change the way we see the world, September 2014, Priscilla Frank.

  • BBC, "In a window of Prestes Maia 911 building and Ramos". Street photography: Beyond the ‘decisive moment’.

  • A new atlas of street photography reveals shots where nothing is quite what it seems. How are today’s snappers capturing city life?

  • Financial Times Magazine, "Ramos and In a window of Prestes Maia 911"

  • building featured on Jackie Higgins 'The World Atlas of Street Photography', August 19, 2014, Liz Jobey

  • GUP Magazine, "Ramos", Eyes on Brazil, June 2014

  • Czech Magnuns Magazine, "Ramos", June 2014, Milada Fiserova

  • China's Civilization Magazine China, "In a window of Prestes Maia 911 building", August 2014, Eva Zhou

  • Off the Wall, "Ramos", July 2014, Anna Alix Koffi

  • Courrier International, Ramos, 2013

  • ZUM!, Novo trabalho de Julio Bittencourt inaugura galeria de fotografia no Rio de Janeiro

  • TimeOut, "Algumas coisas são perdidas para nunca mais serem encontradas", O Morro da Babilônia ganha galeria de arte e estreia com uma exposição fotográfica de Julio Bittencourt, June 27, 2014.

  • C Photo, "Ramos", 2012

  • Marie Claire Italia, "Ramos 2012"

  • Technikart. US, “Artists & Opus” - Ramos, Brazil’s exploding art market, March 29, 2012, Daisy Atterbury and Bronwen Roberts

  • La Lettre de la Photographie, "Citizen X by Julio Bittencourt", March 13, 2012, Sabrina Moura

  • This Magnificent Life, "Julio Bittencourt is a name you should remember.

  • Brazil and Rio as you've never seen them before", March 9, 2012, Simon Betteridge

  • The Wall Street Journal, "Swimming Pool, Stieglitz and Color", Jan. 26, 2012, William Meyer

  • The New Yorker, "Goings on about town", Jan. 2, 2012

  • de Volkskrant, "De Voormalige Textielfabriek Companhia Nacional dos Tecidos in Sao Paulo", Jan. 1. 2012, Frank Schallmaier

  • French Photo, "En direct de New York", Dec. 14, 2011, Eva Therond

  • The Morning News, "Swimming to Rio", October 17, 2011, Nozlee Samadzadeh

  • Los Angeles Times, "Rio's Piscinao de Ramos by Julio Bittencourt", Sept. 9, 2011, Kathy M. Y. Pyon

  • Dulce Equis Negra, "Julio Bittencourt - Fotografias", 2011

  • Zum!, "Ramos - Fotografias de Julio Bittencourt", 2011, Joaquim Ferreira dos Santos

  • Exame, “Fotógrafo leva Piscinão de Ramos a Nova York”, August 19, 2011, Luciana Carvalho

  • TIME, "Rio’s Piscinão de Ramos by Julio Bittencourt", August 18, 2011, Vaughn Wallace

  • Go See US, “Ramos’, August 12, 2011

  • Isto É, “Piscinão de Ramos é tema de exposição em NY”. July 22, 2011,

  • Antonio Carlos Prado e Laura Daudén

  • Época SP, “Fotógrafo paulistano tem exposição sobre o tema nos EUA”, July 20, 2011, Regiane Teixeira

  • SP-Arte, "Fotógrafo Julio Bittencourt estreia exposição em Nova York", Jul. 11, 2011

  • Paraty em Foco, "Nas janelas de Bittencourt", April 20, 2011, Juan Esteves

  • UOL, “Fotógrafo brasileiro expõe imagens do Piscinão de Ramos em Nova York”, April 17, 2011

  • Cultura Fnac, "Exposição - Julio Bittencourt, Brasil", February 28., 2011

  • Valor Economico, "Fotos de SP e Rio em Nova Iorque", Nov. 21, 2010, Cintia Rodrigues

  • Eye Magazine, "Julio Bittencourt records the last days of Prestes Maia 911",June 15, 2010, Keith Miller

  • Polka, "Les riches habitent dans une tour d'ivoire et aperçoivent les autres Paulistas par les vitres de leur voiture, blindée", 2010, Annie Gasnier

  • Mag!, "Tostex Carioca" - Um dia de sol, bronze e alegria na praia mais popular da cidade", 2010, Marcos Guinoza

  • Revista Trip, “Lixão, Praia e Cerveja”. Exposição fotográfica vai do Piscinão

  • de Ramos ao lixão para retratar o espírito do Brasil, November 12, 2009, Mariana Caldas

  • Le Figaro, "La série du Brésilien Julio Bittencourt explore la vie quotidiennes d'une société temporaire", Sept. 23, 2009, Alice Bosio

  • The Guardian, "Windows on a fragile world", Feb. 7 , 2009

  • Foto8, "In a Window of Prestes Maia 911 Building - Room with a view", Feb. 5, 2009, Sophie Wright

  • Vision / China, “In a window of Prestes Maia 911 building”, December 2008

  • Esquire Russia, “The migration of souls”, November 2008, Natasha Vasilieva

  • CPN, "Depicts the beauty and depth of a simple cause", 2008, Mike Stanton

  • PEN, "In a window of Prestes Maia 911 building", 2008, Tatewaki Nio

  • Aperture, "A Window on 911 Prestes Maia Avenue", 2007

  • Leica World Magazine, "Emotion and Enlightenment", 2007

  • The British Journal of Photography, "Rear Window" - Julio Bittencourt wins Leica Top Prize, July 7, 2007

  • BBC, "Brasileiro que retratou sem-teto é premiado na Alemanha", June 19,

  • 2007, Marcelo Crescenti.

  • LFI, "Love's Open Window - A window on life", May 2007, Maike Böhm

9 TO 5 02.JPG

"Selected Collections"

"201  05" - Julio Bittencourt 

Plethora Series

© all rights reserved

 

" 9 to 5  - 02" - Julio Bittencourt

Plethora Series

© all rights reserved

 

  • BNF | Bibliothèque nationale de France

  • FMA - Fundacao Marcos Amaro, Brazil

  • Leica Collection, Wetzlar, Germany

  • Kiyosato Museum of Photographic Arts (K*MoPA), Japan

  • Alfredo Setubal, Sao Paulo, Brazil

  • Noorderlicht Gallery, Groningen, The Netherlands

  • Pinacoteca do Estado de Sao Paulo, Brazil

  • Colecao Pirelli ? Masp de Fotografia, Sao Paulo Museum of Art (MASP), Brazil

  • Fundacao Conrado Wessel, Sao Paulo, Brazil

  • Instituto Itau Cultural, Sao Paulo, Brazil

  • Bolsa de Arte do Rio de Janeiro, Brazil

  • Colecao Joaquim Paiva - Museu de Arte Moderna - MAM, Rio de Janeiro, Brazil

  • Colecao Aloysio Cravo, Sao Paulo, Brazil

  • Museu da Fotografia, Fortaleza, Brazil

  • Instituto Figueiredo Ferraz, Ribeirao Preto, Brazil

  • Abact, Associacao Brasileira de Arte Contemporanea, Sao Paulo, Brazil

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