LIFE & WORK
Neyde Lantyer is a Brazilian multimedia artist living and working in Amsterdam, The Netherlands. Her artwork explores a variety of themes related to memory, belonging, migration and feminism. As an activist, she stands for democracy in Brazil while joining the international struggles against gender oppression and the debate about migration, exclusion and post colonialism.
1. EARLY ACTIVISM
Neyde Lantyer was born in Queimadas-BA, in the Brazilian region called sertão. As a teenager, she moved to Salvador, the old colonial capital, to attend university. Enrolling in Social Work Studies (Universidade Católica do Salvador) and Communications and Journalism (Universidade Federal da Bahia), she joined the student’s struggle for political freedom and democracy - those were the last years of the military dictatorship (1964-1985) that ruled the country for 21 years - and took part in the foundation of the Brazilian Workers Party (Partido dos Trabalhadores - PT) in the state of Bahia (1979-1985).
Neyde Lantyer was born in Queimadas-BA, in the Brazilian region called sertão. As a teenager, she moved to Salvador, the old colonial capital, to attend university. Enrolling in Social Work Studies (Universidade Católica do Salvador) and Communications and Journalism (Universidade Federal da Bahia), she joined the student’s struggle for political freedom and democracy - those were the last years of the military dictatorship (1964-1985) that ruled the country for 21 years - and took part in the foundation of the Brazilian Workers Party (Partido dos Trabalhadores - PT) in the state of Bahia (1979-1985).
2. GENDER STUDIES AND EARLY PROFESSIONAL EXPERIENCE
At the university, Lantyer developed a research with women from a poor local community adreessing class and gender issues. Her graduation essay was based on Simone de Beauvoir “The Second Sex” (1980-1984). As a follow up, she worked with gender oppression and sexuality with groups of female workers.
Later on, working with human resources, she created seminars on existential issues such as the simbolism of the heart, the meaning of death and the consequences of retirement (1988-1997).
At the university, Lantyer developed a research with women from a poor local community adreessing class and gender issues. Her graduation essay was based on Simone de Beauvoir “The Second Sex” (1980-1984). As a follow up, she worked with gender oppression and sexuality with groups of female workers.
Later on, working with human resources, she created seminars on existential issues such as the simbolism of the heart, the meaning of death and the consequences of retirement (1988-1997).
3. ART STUDIES
In 1990 she began experimenting with photography and enrolled in the Fine Arts academy at Universidade Federal da Bahia (Escola de Belas Artes da UFBA). In 1994 she had her first solo exhibition at Museum Casa do Benin, in Salvador da Bahia, presenting a series of 38 mixed media portraits with collage and drawings on photography. Two years later, she created the course “Técnicas & Linguagem Fotográficas” (1996-1997), pioneering the debate on contemporary photography locally.
In 1990 she began experimenting with photography and enrolled in the Fine Arts academy at Universidade Federal da Bahia (Escola de Belas Artes da UFBA). In 1994 she had her first solo exhibition at Museum Casa do Benin, in Salvador da Bahia, presenting a series of 38 mixed media portraits with collage and drawings on photography. Two years later, she created the course “Técnicas & Linguagem Fotográficas” (1996-1997), pioneering the debate on contemporary photography locally.
4. MIGRATION
Shortly after Lantyer moved to Amsterdam (1998) where she followed photography, video en cinema studies at Amsterdam Institute of Photography, De Moor, Amsterdam Video School and Kunstenaars & Co. She had her first solo exhibition in Europe at WM Gallery in 2002 and in 2008 she enrolled in a post-graduation course “Histories and Theories of Photography” at Universiteit van Leiden (2008-2009).
Shortly after Lantyer moved to Amsterdam (1998) where she followed photography, video en cinema studies at Amsterdam Institute of Photography, De Moor, Amsterdam Video School and Kunstenaars & Co. She had her first solo exhibition in Europe at WM Gallery in 2002 and in 2008 she enrolled in a post-graduation course “Histories and Theories of Photography” at Universiteit van Leiden (2008-2009).
5. MUSIC AND CINEMA
In The Netherlands Neyde Lantyer became the chairwoman and subsequently the artistic director of cultural bi-national foundation A Hora do Brasil. All long seven years in charge, she created an array of artistic-cultural projects, been the BRAZILIAN SUMMER SESSIONS MUSIC FESTIVAL the most known. Developed together with Brazilian dancer and choreographer Claudia Trajano, the project was a combination of concerts, jam-sessions, music documentaries and talks at Bimhuis, Amsterdam . The highly successful program helped to develop a new vision on Brazilian Music in The Netherlands.
In The Netherlands Neyde Lantyer became the chairwoman and subsequently the artistic director of cultural bi-national foundation A Hora do Brasil. All long seven years in charge, she created an array of artistic-cultural projects, been the BRAZILIAN SUMMER SESSIONS MUSIC FESTIVAL the most known. Developed together with Brazilian dancer and choreographer Claudia Trajano, the project was a combination of concerts, jam-sessions, music documentaries and talks at Bimhuis, Amsterdam . The highly successful program helped to develop a new vision on Brazilian Music in The Netherlands.
Later on, again in partnership with dancer and choreographer Claudia Trajano, Lantyer collaborated with the film festival WORLD CINEMA AMSTERDAM along 3 years, curating a showcase of film Brazilian documentaries (2005-2013) .
6. PHOTO RESTORATION
In Amsterdam, Lantyer worked 10 years with Dutch restorer and conservator Michiel Kort (FotoZorg), a major specialist in recovering vintage negatives. She learned to restore and conserve photography, glass plate’s negatives and a variety of old photo-printing techniques (2004-2012). Working with Kort, she helped recovering the archives of major institutions such as museums, the Dutch National Archive, the Dutch Royal Family, plus companies and publishers. It was a striking experience that is in the basis of her art projects on memory.
In Amsterdam, Lantyer worked 10 years with Dutch restorer and conservator Michiel Kort (FotoZorg), a major specialist in recovering vintage negatives. She learned to restore and conserve photography, glass plate’s negatives and a variety of old photo-printing techniques (2004-2012). Working with Kort, she helped recovering the archives of major institutions such as museums, the Dutch National Archive, the Dutch Royal Family, plus companies and publishers. It was a striking experience that is in the basis of her art projects on memory.
7. PROJECTS ON PHOTOGRAPHY
Besides her own autoral projects, she created the plataform Fotografia & Cultura (2012-2018) and developed the analog program Talks on Photography, in partnership with Teatro Munganga, Amsterdam (2015).
Besides her own autoral projects, she created the plataform Fotografia & Cultura (2012-2018) and developed the analog program Talks on Photography, in partnership with Teatro Munganga, Amsterdam (2015).
8. MEMORY AND WOMEN
In 2009 Lantyer began an artistic research on photography and memory (in progress), investigating the photo-albuns of her own family. The intetion is tracing the presence (and absence) of women in the region where she was born and within her family. The work has been presented in talks, lectures and projections in universities, museums and institutions since 2015.
In 2009 Lantyer began an artistic research on photography and memory (in progress), investigating the photo-albuns of her own family. The intetion is tracing the presence (and absence) of women in the region where she was born and within her family. The work has been presented in talks, lectures and projections in universities, museums and institutions since 2015.
9. EXCLUSION AND INVISIBILITY OF THE MIGRANT WOMAN ARTIST
Her recent most reseach investigates the position of the woman artist in the context of immigration. The project addresses the exclusion, the invisibility and the obstacles the migrant woman artist faces to find a place in the European “art world”. The research is a result of a Master in Arts by the Universidade do Porto, Portugal.
Her recent most reseach investigates the position of the woman artist in the context of immigration. The project addresses the exclusion, the invisibility and the obstacles the migrant woman artist faces to find a place in the European “art world”. The research is a result of a Master in Arts by the Universidade do Porto, Portugal.
