Despite the strong presence of images in the media and the increased ease with which photographs are now shot and disseminated thanks to digital technology, photo-essays have very specific venues for publication, which form small guettos and hardly allow interaction with the general public.

There are a number of photography festivals in Brazil and around the world of which many artists are not able to participate directly. They end up not knowing about the work that has been exhibited and the issues that were raised, and have no opportunity to interact with the participating artists.

The meetings, talks and information exchange that take place in the big photography festivals are very positive, but due to financial and physical restrictions, they generally do not encompass the full range of current aesthetic and thematic issues in photography, thus discarding great opportunities for interaction. 

Thinking of this, the idea of "invasion" and "off-festival" is meant to signify integration rather than confrontation.

Aiming to integrate artists from different backgrounds into a direct dialogue with other artists, organizers and principally, the general public of the festivals' host cities we decided to use a relatively simple tactic of "cultural" invasion: the urban intervention.


The photograph becomes a big poster that is then glued onto the walls of the photography festivals' host cities.

The aim of the Offestival intervention is to transform a photo-essay into posters that are glued in places where the essay makes reference to the local urban situation.  The impact of the art work on the street will be provoked by the aesthetic or thematic relation with the public that circulates through that place. 

Street posters have been used from time immemorial for advertising, promotion and communication on the street. Present in the collective unconscious as  "Wanted" posters in the Wild West or to promote concerts with distinctive fonts, they have also been frequently used by urban artists as a communication tool.