Neyde Lantyer


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“For most of history, Anonymous was a woman.” _Virginia Woolf

“The truth is, I often like women. I like their unconvetionality. I like their completeness. I like their anonimity.”  _Virginia Woolf
ABOUT
Neyde Lantyer is a Brazilian visual artist, photographer, restorer of vintage negatives and independent researcher on photography, living and working between AmsterdamNL and Salvador-BR. Having memory and feminism as a backgound, her artwork explores a variety of themes related to personal experiences such as family, relationships, immigration and belonging, contemplating the wide range of the photographic image as recollection, documentation and symbol of mass culture. She is interested in expanding the possibilities of the medium in relation to other media’s and techniques such as collages, text, objects and video. Neyde Lantyer teaches contemporary photography and is the creator of the online platform FotograLia & Cultura and the program “Talks on Photography at Teatro Munganga, Amsterdam. She is also a cultural manager and a project designer who takes active role in art organizations and cultural enterprises in Holland and Brazil.




POLITIC ATIVISM AND FEMINISM
Moving to Salvador, one of the biggest cities of the country, when Brazil was living the last years of the struggle against the military dictatorship, she immersed herself in the student’s activism for democracy, amnesty and free elections; as an activist, collaborated with the foundation of the Brazilian workers party (Partido dos Trabalhadores) (1979-85); 

The activism leaded her to women’s issues and feminism; her graduation research and essay was inspired by Simone de Beauvoir ‘s “The Second Sex”, developed with women from Salvador’s peripheral communities (1980-84);

Worked with women’s sexuality, sexual freedom X gender oppression and with human resources, creating seminars about existential issues such as “the Heart”, “the Death” and “The Retirement” (1988-1997).




PHOTOGRAPHY
Studied visual arts at Universidade Federal da Bahia where started experimenting with photography; decided to leave the university to search for and independent formation since there they did not offer a course on photography (1990-93);

Had her Lirst solo exhibition at Museum Casa do Benin (1994) presenting a long series of portraits, experiencing with mixed media, such as collage and drawings on photography; created the course “Linguagem FotograLica” em Salvador (1996-97);

Moved to Amsterdam-NL (1998) where joined several courses at Amsterdam Institute of Photography and De Moor; studied “Histories and Theories of Photography at Universiteit van Leiden (2008-09); had her Lirst solo exhibition in Europe at WM Gallery (2002);




PHOTO RESTORATION
Worked for 8 years with Dutch restorer and conservator Michiel Kort, a major specialist in recovering vintage negatives; learned to restore and to conserve photography, glass plate’s negatives and a variety of old printing techniques (2004-2012);




IMMIGRATION, MUSIC, CINEMA
Became chairwoman and later artistic director of the cultural bi-national foundation A Hora do Brasil, relating directly with the issues of immigration within the Brazilian community in the Netherlands. Along seven years in charge, developed several artistic/ cultural projects, created the music festival Brazilian Summer Sessions at Bimhuis, together with co-author dancer and choreographer Claudia Trajano; the festival developed a new vision on Brazilian Music abroad, presenting concerts, jam-sessions, music documentaries and talks; again with Claudia Trajano collaborated for 3 years with the festival World Cinema Amsterdam, creating a Lilm music documentary program (2005-2013).




 ABC da Greve. Créditos: Neyde Lantyer


MEMORY AS A SOURCE OF INSPIRATION
Became interested in family and vernacular photography, inspired by the experience with photo restoration and conservation, and began an independent artistic research on memory and photography (in progress since 2009). Her “Trilogy”, a body of work built on family photography, love, abandonment and the image of women in vernacular photography along the last century, became her main interest at her artistic practice.