William Heise’s “The Kiss," from 1896, is marketed in Edison’s film catalogue as an unforgettable film: “they get ready to kiss, begin to kiss, and kiss and kiss and kiss in a way that brings down the house every time.” A film about a kiss, a scandal for its time. This is not that film, but it's also about a kiss.
2020
Screenings
Ardume - Mostra de videoarte e cinema experimental — Porto, Portugal, 2024
Shortcutz — Ovar, Portugal, 2021
Shortcutz — Funchal, Portugal, 2021
Shortcutz — Guimarães, Portugal, 2021
Caminhos do Cinema Português — Coimbra, Portugal, 2020
PROMETEU 2020 — Porto, Lisboa, Portugal, 2020
FEST New Directors New Films Festival — Porto, Portugal 2020
In The Kiss, the sexual act is reduced to its eponym: a long kiss multiplied on several faces, several lips and tongues, saliva, moans, the sound as an assault on the senses. The paradox of the pure act, the kiss, in an impure, pornographic film, reveals that the “problem” is not the kiss as a concept, but its application in various forms. The “socially accepted” form of the kiss is not any of these and the insistence on showing them, listening to them, culminates in a saturation that bothers. The fact that the fragments belong to porn films (an evidence for their formal characteristics), throws the film into the territory of discomfort, depending on the context where it is presented and whether that context is a social experience (cinema) or individual (computer at home), institutional (museum) or casual (social networks). If, again, the trend of cinema is to show more and more, defending itself in the simulation of the act, and therefore safeguarding the viewer from the staging of what he sees, such as when we see someone shooting another person in a film, with The Kiss I propose to show as little as possible, but of an object in which the act, although we do not see it in this context, is not simulated, making us complicit in moral illegality. Would this film be accepted on a social network? Is it more or less obscene than the porn films that compose it?
from the director's statement.
William Heise’s “The Kiss," from 1896, is marketed in Edison’s film catalogue as an unforgettable film: “they get ready to kiss, begin to kiss, and kiss and kiss and kiss in a way that brings down the house every time.” A film about a kiss, a scandal for its time. This is not that film, but it's also about a kiss.
In The Kiss, the sexual act is reduced to its eponym: a long kiss multiplied on several faces, several lips and tongues, saliva, moans, the sound as an assault on the senses. The paradox of the pure act, the kiss, in an impure, pornographic film, reveals that the “problem” is not the kiss as a concept, but its application in various forms. The “socially accepted” form of the kiss is not any of these and the insistence on showing them, listening to them, culminates in a saturation that bothers. The fact that the fragments belong to porn films (an evidence for their formal characteristics), throws the film into the territory of discomfort, depending on the context where it is presented and whether that context is a social experience (cinema) or individual (computer at home), institutional (museum) or casual (social networks). If, again, the trend of cinema is to show more and more, defending itself in the simulation of the act, and therefore safeguarding the viewer from the staging of what he sees, such as when we see someone shooting another person in a film, with The Kiss I propose to show as little as possible, but of an object in which the act, although we do not see it in this context, is not simulated, making us complicit in moral illegality. Would this film be accepted on a social network? Is it more or less obscene than the porn films that compose it?
from the director's statement.
2020
Screenings
Ardume - Mostra de videoarte e cinema experimental — Porto, Portugal, 2024
Shortcutz — Ovar, Portugal, 2021
Shortcutz — Funchal, Portugal, 2021
Shortcutz — Guimarães, Portugal, 2021
Caminhos do Cinema Português — Coimbra, Portugal, 2020
PROMETEU 2020 — Porto, Lisboa, Portugal, 2020
FEST New Directors New Films Festival — Porto, Portugal 2020
Texts
— Bodybuilding and the future of gender
room sheet of the Cineclube EA's showing of the film Pumping Iron, 2021
— 'The Kiss': The obscene off the scene
published on the Journal of Technology and Science of the Arts, 2021
Texts
— Bodybuilding and the future of gender
room sheet of the Cineclube EA's showing of the film Pumping Iron, 2021
— 'The Kiss': The obscene off the scene
published on the Journal of Technology and Science of the Arts, 2021
Miguel De (Portugal, 1992) is a multidisciplinary artist, who works with photography, writing, performance, music and video. He has a master's degree in Photography from Escola das Artes da Universidade Católica Portuguesa (2022) and a degree in Cinema and Audiovisual from Escola Superior Artística do Porto (2013). He lives in Braga.
He published a photography artist book in 2021, “conhecer um corpo”. He has already exhibited his photographic and videographic work in Lisbon, Porto and Braga. In 2022 he was featured on the list of Best Portfolios, in an international portfolio reading promoted by the IMAGO Lisboa Photo Festival. He regularly collaborates with the Braga Media Arts and Braga’27 projects, promoted by the Municipality of Braga.
In addition to visual work, he is part of Circo Caótico with Daniel Seabra and Mafalda Gonçalves, where he is the author of the music and sound design for the collective's performances. He collaborates with BANQUETE – Association for Research and Creation in Performing Arts, also with the creation of music and soundscapes for performance. From 2015 to 2017 he produced electronic music as Tundra Fault. He also DJs as Miguel De Jay.
He collaborates with artists from various fields, such as João Pedro Rodrigues, Maria Trabulo, Antonio da Silva, Daniel Seabra, Joana Castro, Júlio Cerdeira, Dora Vieira, David Machado, Distorted Vision, Rui P. Andrade (Canadian Rifles) and Lola Rossi.
Exhibitions and press
Solo exhibitions
→ Procuro-te por toda a parte, mas só encontro paisagem. — Lugar.Landescape — Ovar, Portugal, 2025
→ Masc — Livraria aberta — Porto, Portugal, 2022
Group exhibitions
→ Masc — Too Much of a Good Thing, a ilha / XYZ Books — Lisbon, Portugal, 2023
→ Pega de fogo — ACTUM, Palácio do Raio — Braga, Portugal, 2023
→ Masc — Amor em Tempos de Cólera - ACTUM — Braga, Portugal, 2021
→ Masc — Panorama21 - Escola das Artes da Universidade Católica Portuguesa — Porto, Portugal, 2021
→ The myth of Atlas — ACTUM — Braga, Portugal, 2020
Texts and interviews
→ Tap Juice — Tap Juice — Braga, 2025
→ Arde — Umbigo Magazine, 2022
→ Falar Fazendo: Media Arts — Braga'27 — Braga, Portugal, 2022
→ Vamos Falar? Onde vês arte? — Rádio Universitária do Minho — Braga, Portugal, 2021
→ The Kiss: The obscene off the scene — Journal of Science and Technology of the Arts (Vol. 13 Nr. 2) — Porto, Portugal, 2021
→ Bodybuilding and the future of gender — Cineclube EA — Porto, Portugal, 2021
→ Braga de... — Braga'27 — Braga, Portugal, 2021
All work
2025 | Comission | Workshop | Shopyard: Film Photography Course | see more → |
Creation | Performance | Actos e Omissões | see more → | |
Creation | Photography | Procuro-te por toda a parte, mas só encontro paisagem. | see more → | |
2024 | Comission | Live visuals | Darksessions w/ Fuga | see more → |
Creation | Live radio | Alarido ao vivo | see more → | |
Comission | Music | Pó de Pedra, by Circo Caótico | see more → | |
Comission | Music | Hide to Seek, by Júlio Cerdeira | see more → | |
Creation | Podcast / Newsletter | Alarido | see more → | |
2023 | Creation | Video | Pega de Fogo | see more → |
2022 | Comission | Video | Ovar Escondido | see more → |
Comission | Music | Matérias Inúteis, by Banquete | see more → | |
Comission | Video + workshop | Imaginary Cartographies | see more → | |
2021 | Creation | Music | PNRM | see more → |
Comission | Music | Raíz, by Circo Caótico | see more → | |
Creation | Photography | Masc | see more → | |
Comission | Video | Darktraces, by Joana Castro | see more → | |
Creation | Photography book | Conhecer um corpo | see more → | |
2020 | Creation | Photography | O mito de Atlas | see more → |
Creation | Music | Sinfonia do Futuro | see more → | |
Creation | Film | The Kiss | see more → | |
Comission | Music | Por um fio, by Daniel Seabra | see more → | |
Comission | Music | Com(Sequência), by Circo Caótico | see more → | |
Comission | Music | Crisálida, by Daniel Seabra | see more → | |
2019 | Comission | Music | [HOSE], by Daniel Seabra | see more → |
Comission | Video + Music | Circuito | see more → | |
2018 | Comission | Music | Ocupa #3 w/ Dora Vieira and David Machado | see more → |
2017 | Creation | Music | Tundra Fault | see more → |
Miguel De (Portugal, 1992) is a multidisciplinary artist, who works with photography, writing, performance, music and video. He has a master's degree in Photography from Escola das Artes da Universidade Católica Portuguesa (2022) and a degree in Cinema and Audiovisual from Escola Superior Artística do Porto (2013). He lives in Braga.
He published a photography artist book in 2021, “conhecer um corpo”. He has already exhibited his photographic and videographic work in Lisbon, Porto and Braga. In 2022 he was featured on the list of Best Portfolios, in an international portfolio reading promoted by the IMAGO Lisboa Photo Festival. He regularly collaborates with the Braga Media Arts and Braga’27 projects, promoted by the Municipality of Braga.
In addition to visual work, he is part of Circo Caótico with Daniel Seabra and Mafalda Gonçalves, where he is the author of the music and sound design for the collective's performances. He collaborates with BANQUETE – Association for Research and Creation in Performing Arts, also with the creation of music and soundscapes for performance. From 2015 to 2017 he produced electronic music as Tundra Fault. He also DJs as Miguel De Jay.
He collaborates with artists from various fields, such as João Pedro Rodrigues, Maria Trabulo, Antonio da Silva, Daniel Seabra, Joana Castro, Júlio Cerdeira, Dora Vieira, David Machado, Distorted Vision, Rui P. Andrade (Canadian Rifles) and Lola Rossi.
Exhibitions and press
Solo exhibitions
→ Procuro-te por toda a parte, mas só encontro paisagem. — Lugar.Landescape — Ovar, Portugal, 2025
→ Masc — Livraria aberta — Porto, Portugal, 2022
Group exhibitions
→ Masc — Too Much of a Good Thing, a ilha / XYZ Books — Lisbon, Portugal, 2023
→ Pega de fogo — ACTUM, Palácio do Raio — Braga, Portugal, 2023
→ Masc — Amor em Tempos de Cólera - ACTUM — Braga, Portugal, 2021
→ Masc — Panorama21 - Escola das Artes da Universidade Católica Portuguesa — Porto, Portugal, 2021
→ The myth of Atlas — ACTUM — Braga, Portugal, 2020
Texts and interviews
→ Tap Juice — Tap Juice — Braga, 2025
→ Arde — Umbigo Magazine, 2022
→ Falar Fazendo: Media Arts — Braga'27 — Braga, Portugal, 2022
→ Vamos Falar? Onde vês arte? — Rádio Universitária do Minho — Braga, Portugal, 2021
→ The Kiss: The obscene off the scene — Journal of Science and Technology of the Arts (Vol. 13 Nr. 2) — Porto, Portugal, 2021
→ Bodybuilding and the future of gender — Cineclube EA — Porto, Portugal, 2021
→ Braga de... — Braga'27 — Braga, Portugal, 2021
All work
2025 | Shopyard: Film Photography Course | → |
Actos e Omissões | → | |
Procuro-te por toda a parte, mas só encontro paisagem. | → | |
2024 | Darksessions w/ Fuga | → |
Alarido ao vivo | → | |
Pó de Pedra, by Circo Caótico | → | |
Hide to Seek, by Júlio Cerdeira | → | |
Alarido | → | |
2023 | Pega de Fogo | → |
2022 | Ovar Escondido | → |
Matérias Inúteis, by Banquete | → | |
Imaginary Cartographies | → | |
2021 | PNRM | → |
Raíz, by Circo Caótico | → | |
Masc | → | |
Darktraces, by Joana Castro | → | |
Conhecer um corpo | → | |
2020 | O mito de Atlas | → |
Sinfonia do Futuro | → | |
The Kiss | → | |
Por um fio, by Daniel Seabra | → | |
Com(Sequência), by Circo Caótico | → | |
Crisálida, by Daniel Seabra | → | |
2019 | [HOSE], by Daniel Seabra | → |
Circuito | → | |
2018 | Ocupa #3 w/ Dora Vieira and David Machado | → |
2017 | Tundra Fault | → |