From Arvo Pärt’s violin and piano was born, in 1978, the piece “Spiegel im Spiegel” (Mirror in the Mirror), a two-instrument melody that embodies simplicity, purity, and innocence. It is like a climb, a becoming between the violin solo and the three piano notes, the “guardian angel” in this composition, which represents, in the words of the composer himself, a “returning home after being away.” There are images that evoke music, drawing us into the poetics of this supreme, universal, and eternal art, because it touches the most intimate and hidden parts of ourselves.

Antecâmara by Inês d’Orey takes us into this territory of the unspeakable, where lexicon and symbolism are of another nature. It portrays the emptiness we feel in moments of waiting, the search for our “angel,” like Pärt’s piano which, mirrored, also takes us to other places, expectant in a time and space that seem suspended. Pointedly or indirectly, the human presence emerges as the protagonist of these photographs, inviting the viewer to wander through these narratives, where one seems to hear, in the distance, the words of Vinicius de Moraes: “Ah, how I wish to hear a nevermore / Saying that life will always be like this / And when the waiting ends / To hear in the spring / Someone calling for me.”

As part of Belgrade Photo Month, a second version of the exhibition Antecâmara will be presented, composed of previously unseen photographs from the eponymous series.

The exhibition is supported by the Embassy of Portugal in Serbia and the Camões Institute.