WHO | Chiodetto Eder.

WHERE | Sao Paulo.

WHY | I remember Eder as associate editor of the Folha de S. Paul, if I'm not mistaken, back in the years 1996 and 1997. Then he became editor. Now, photography critic and curator, Eder made 2009 a wonderful year for those who like photography. The exhibition "Look and Pretend - Photographs from the Collection Auer", "Henri Cartier-Bresson, Photographer" and "The Invention of the World - Collection of the Maison Européenne de la Photographie" is something to applaud and cheer for him to continue at this pace. By the way, Eder shows us firsthand a piece of text presentation of HCB exposure that opens in September.

Photo: Silva Alcir

Curriculum provided by the photographer:

Chiodetto Eder, and a master's degree in Communication Arts from the University of Sao Paulo, a journalist, photographer, independent curator and photography critic for the newspaper Folha de S.Paulo, the vehicle in which he served as a photojournalist (1991-1995) and as photo editor (1995 and 2004).

Is the author of The Writer's Place (Cosac Naify), one of the winners of the 2004 Tortoise. Editorial coordinator of the collection of photography books in Brazilian FotoPortátil Cosac Naify. He teaches in the chairs of Photojournalism and Documentary Photography in the Bachelor of Photography Senac-SP.

Currently accounts for curating the Collectors Club of Photography MAM-SP. In recent years made several curators of photography and video for institutions such as MAM-SP, Itaú Cultural Caixa Cultural, Brazilian House Museum and SESC, among others.

In 2009 is ahead of three curators held in partnership with French institutions for the Year of France in Brazil: Look and Pretend - Photos Collection Auer (MAM-SP), Henri Cartier-Bresson, Photographer (SESC Pinheiros) and The Invention of One World - Collection of the Maison Européenne de la Photographie (Itaú Cultural).

Photo: Bernard Faucon | Maison Européenne de la Photographie

Photo: Jan Saudek | Maison Européenne de la Photographie

LOOK, SEE How did you get the picture?

Eder Chiodetto was a foot-in-ass! He was in love. The first great passion of life. That kind of very ill, that we think will be permanent, which occupies all the spaces. And suddenly, bye, get out of here, XO, do not want you ... I was exchanged. It hurt a lot. I thought of suicide. I cried listening to Caetano, Bob Dylan and even Roberto, you see ... I thought the two lovers running over a street corner. Many plans for revenge.

Mud when I was at a newspaper that there was a photography exhibition. Araquém Alcantara and students that he was forming. Needed to fill the head with something. I went there. And I never went back.

Realizing the possibility of seeing the world like that was a discovery that derailed me forever.

Then I attended the Araquém, turned his assistant. I began to realize personal essays, I entered the journalism school. Hence for the Leaf as a freelance photo-reporter, editor and hired. And when it all started to get a little repetitive, I began to write criticism in Illustrated. Thirteen years of Leaf. In 2004 I left, I was doing my Masters with prof. Boris Kossoy at ECA / USP.

LOOK, SEE For years you edited the picture of the Folha de S. Paul. This experience was important to his current role as a healer?

Eder Chiodetto other day I commented that I see the role of healer directly linked to the editor. It would, perhaps, a refinement of the role of editor. But the training of the eye quick editing, the perception in joining symbolic content, gather images, drop fat, get in the synthesis, build "sentences" with images, all the world of editorial photography Leaf gave me a ruler and compass without a doubt. When I read Portfolio sometimes I get embarrassed to realize very quickly what the photographer intends, what he can and where it is weakened. This all comes at a breakneck speed to myself. I love editing, formatting experience, to build a parallel universe with the contents of encrypted files. Hence the pleasure of writing too, but this always taken more sense.

LOOK, SEE What's the biggest difficulty: edit hundreds of photos in the newspaper or select a material for a show?

Eder Chiodetto The possible paths are always many. It's like I told Susan Meiselas once in Ecuador, "the issue is how to search for paths in the sea, there are certain ways, but we must sail forever!"

In the paper the criteria are more clear and objective, which facilitates the process. You need to be well informed to know crossing the informative power of images with the most appropriate and aesthetic impact. The problem is that with the advent of digital, Internet, etc., the volume of images possible to edit a daily newspaper today tends to infinity. When you think the newspaper has closed dramatically any cab driver can show up with a better picture than what you put on the first page ...

You work in a curated anchored in a historical perspective, but with a large amount of subjectivity that allows a great poetic leeway. But as I am very attached to the verb also a curator for me works only if I can solve it in the text as well. The text is as a check on the order of things poetic. I've taken a lot of good photo of exposure because she realized they escaped to a certain harmony within the group. And this is often the text that makes me understand. Anyway, here is who controls structures beyond the rational. And this brings uncertainty to navigate uncertain, it is true, but it is the only place where, in fact, I find aesthetic pleasure.

LOOK, SEE In a text of 2007, you criticized the photojournalism made ​​in recent years. What is your current opinion?

Eder Chiodetto Even today I get emails commenting on this text. Even people who complained at the time and then agreed. I was in the middle of my master, reviewing my years in photojournalism, with sharp speech. My current opinion has not changed. What has changed, as I had anticipated was the function of photo-reporter in the newsroom. More and more bureaucratic, more free space to publish photo services, less travel, more pictures and less celebrity photography that reveals the inside story of the country, more pictures of staffs, fewer and more newspaper advertising. Is anyone there to deny all this?

And I'm an animal photographer. Love story, love paper. And because I like is that I have to see how things are moving along and criticize. But I also think that every crisis is positive. We are living a moment of paradigm shift. This old model is dead. The spaces are different, the photographers will be others. Is there intelligent life on blogs more and less in the newsroom. Will survive the photographer who has cultural autonomy, ideas, stories to tell. Also because the photos of great impact, accidents, floods, disasters and all that happens without being scheduled, it is the privilege of the driver, the motorcycle courier, the housekeeper, the butcher, who is with the phone closer to the scene. Newspaper photographer just makes agenda, agenda cold.

What sense is there then be in a newsroom waiting for someone to tell the story you have to shoot? Anyway, will only survive in this market who can differentiate themselves from the mass. And professional photographers should not think like most photojournalists, but as fotodocumentaristas. Reflection, depth, knowledge, please!! Beautiful, amazing photo, photo of the hole on a daily basis, believe, all the amateurs are doing all the time. This new breed of well trained photographers who begins to dig new spaces with determination and talent, soon form groups, collectives, and will be sponsored through them that the picture will again be in the media, the language that gives the cards, which agenda, that excites, informs, humanizes. I have no doubt.

Photo: Joel Peter Witkin | Maison Européenne de la Photographie

Photo: Paolo Ventura | Maison Européenne de la Photographie

Photo: Pierre Molinier | Maison Européenne de la Photographie

LOOK, SEE When and how did the transition occurred from the photographer / editor turned critic / curator?

Eder Chiodetto I was always very inquisitive, curious. I think it's it the seed of these metamorphoses. One day in 1996, went to see the exhibition in the gallery of Roberta Dabdab Fotóptica in Pinheiros. I found beautiful, moved me. I told the editor of Illustrated and he suggested that I write. I was shocked. I wrote. Liked and still do it 13 years ago ... But actually I do not see that I practice the activities separated from each other. Instead, the photographer encourages the writer, who turns critic, giving ideas to the curator who first thinks of seeing everything in an edition in book form, audio-visual, so ... it's a cycle that is not closed. Do not think about anything separately.

LOOK, SEE What is your opinion about photographic criticism made ​​in Brazil?

Eder Chiodetto It exists? Introduces me? I do not know.

LOOK, SEE here on the blog, always say that seeing a picture is the most important things the formation of a photographer. Be in the magazine, internet or exposure. What is the function and role of a good exhibition of photography in the chain (production, academic, professional, etc.) of Brazilian Photography?

Eder Chiodetto exposure, as well as a book, is the maximum moment of realization of a job. It's often the closing of a cycle, a thought. It is when the artist (or curator, or both) try to find the formula, the fine finish to the many questions that are tangent to artistic and intellectual creation. A good show or a good book are like shrines that can lead to states of contemplation which never return equal. But of course, for this to work, you need to fine tune all the instruments. It is an insane work. And when it works, there is nothing more pleasurable.

LOOK, SEE Exhibition MAM ("Look and Pretend"), Henri Cartier-Bresson and Itaú Cultural with big names. As was to bring so much important for the Brazilian public?

Eder Chiodetto In fact being an incredible year and much, much work and new learning. But the pace is hardly as stressful as work in a newsroom and is immensely pleasurable. All three of these big shows happened because of the French Year in Brazil. The three institutions that received the samples - MAM-SP, SESC and Itau Cultural - called me to these curators, so I think the whole project, made the curators and parallel events. A huge responsibility, but somehow I felt ready for it, the path that had already traveled far. It was a natural process.

And the more enjoyable was being able to discuss with collectors, curators, curators of large collections and realize that our speech and our insight into the history of photography and how the language has been crafted in the contemporary world is set up for them in an original and expands the possibility of approach.

With the couple Auer, who did the show "look and pretend" in the MAM-SP, was a very rich dialogue. They initially were very amazed with our preposition to address the issue of photography and imaginary transgression. Trustees said that Europeans are much more pragmatic elect themes within the collection of them as "children", "Swiss photographers" etc.. Then suddenly falls in the middle of a Brazilian history with the proposal to make a conceptual crop. They were surprised, they were on the defensive at first and then when it happened were extremely happy and surprised. They said they were finally able to realize such thing as freedom of thought out there that speaks about Latinos. I found very curious.

The same has happened with the show "The Invention of the World," with the photos that come from the Maison Européenne de la Photographie, headquartered in Marrais district in Paris. I made the selection of the work with Jean-Luc Monterosso, which in addition to director of MEP is the man who envisioned the existence of this institution today is perhaps the maximum reference in contemporary photography in the world. The selection process was very smooth, the Monterosso has a very libertarian view of the contemporary. We feel very similar in many points. This show is like a great second chapter shows the MEM. And we have Joan Fontcuberta giving keynote speeches and Joel-Peter Witkin also speaking to the public, and the workshops they will too.

The exhibition of Henri Cartier-Bresson adds to the broth giving a fairly interesting, as if he somehow was the missing link between the documentary and experimental. It starts to become very clear to me. In fact I think he puts the picture in a debate already in the 50s, which is slowly becoming more timely. But besides the pictures of him and Brazilian photographers influenced by him I'm doing a room aside, the big thing will be discussions in which to deconstruct the myth of the Decisive Moment. This question, which shall be to discard a certain trivialization of how the work of HCB is understood, is perhaps the best contribution of the event.

Finally, to very encouraged with this, and hope people enjoy.

Photo: Flávio Damm | Bressonianas

Photo: Cristiano Mascaro | Bressonianas

LOOK, SEE How important is a classic and HCB in this scenario increasingly Flickr, self portrait, Photoshop, etc?

Eder Chiodetto copy here, firsthand, the last paragraph of a wall of text I wrote, to answer you:

"Bresson died in 2004, when the picture had already been impacted by major changes because of new technologies. Grounded in sensitivity, the wit and aesthetic rigor, the world view of Cartier-Bresson and his peers may, at first glance, seem disconnected these new times. Mere illusion. Although the information age and the speed be lulled into the belief that the decisive moment occurs all the time, online, Cartier-Bresson and his work remain as the thread to the rescue of an apparent sensitivity to extinction. "

LOOK, AND SEE new projects? What Eder in 2010 will bring us?

Eder Chiodetto What is certain is that I will return to Photo Essay workshop. Give lessons in MAM-SP and private well. I love working with photographers to help them develop their tests, provoking them, looking for ways together. With this I leave to teach in universities for a while. I miss a more focused study group.

I will give continuity in which I have held exhibitions in Micasa in Sao Paulo, which is a project that excites me enough, for being able to bridge the gap between new collectors and photographers who have an experimental production quality with no place to dispose of this market is still small.

The broad curatorial, there is an ongoing negotiation to bring a collection of photographs shows the MAM-SP to Montpellier, France, and a parallel exhibition of roaming the Cartier-Bresson, who gave the title "Bressonianas" for some units of the SESC in São Paulo.

Photo: Orlando Azevedo | Bressonianas

Photo: Juan Esteves | Bressonianas

Share and Enjoy: