The 1970s, the decade in which the production of Júlia Ventura (Lisbon, 1952) began, were decisive for the repositioning of photography in the context of plastic arts. Several factors contribute to this shift: a rethinking of the very idea of a photographic document, sometimes associated with performative manifestations; the eruption of conceptual perspectives and practices that had emerged a few years earlier and that continued during that decade; an interest in photography as medium plastically operational beyond its relations with the appearances of reality; and a more structural reflection on the nature of the image, were conditions that in a naturally different way interested many artists.
