"The borders that art is necessary," Part 1
These days I read a story on Bravo on Lady Gaga (as she has been quoted here on the blog, no?), In which Dudu Bertholini, designer of Neon, said: "The 20th century was marked by aesthetic currents that prevailed a decade or another, such mandeira that by hitting the eye, we are able to recognize an image of the 40 or 60. Today, however, is all mixed up. "
Separate things, label them and define them are habits profissinais of warehouse, but also the artistic milieu - a posture and Opus Dei, it allows me to Pitaco. In each dácada here, thank God, these settings will become increasingly translucent. Recently, an exchange of emails with Pius Figueroa, the boy's Cia de Foto talked about "the boundaries that art is necessary." I decided to transcribe a passage here, because it is too:
Crazy fan and walk through with the things Paul Bruscky. What he did in 80, or before it gets better every day. When he worked in Agamemnon Magalhães Hospital, noted that one 10:30 am, the lights of the reflections of cars passing the street, entered the window of his room. He then measured the spot that the light was on the wall and ordered a frame. Ready: from then on had a work (photo) in the wall of his public work. One day, during the dictatorship, when he was arrested, the guardinha, unhappy with the theories of the prisoner fired up, said: "You mean if I get a piece of ground here and put on the wall, is art?". Bruscky replied: "Boy, if you put, no. Now, if I put, then it is art. " It was well that the Russian Avant-Garde began to disregard those boundaries that art is necessary. There in the early 20th century so the Russians mixed paint with photography, architecture and text, without much thought about where they were, to which group they belonged. On this side of the wall, only 60 is that friends or minimalist-Klarkes Matta, Robert Smithissons of life, began also to desreispeitar such boundaries imposed, the expressions, the boring of the modernists.
Thinking about all this, I recently came across two artists: the Brazilian poet and photographer Ricardo Domeneck German Timo Klos. They called me the attention, not only by the delicacy of their work, but because both challenge their own chosen media - and especially the paradigm of time in them. In the video, the paradigm of narrative within a space of time, and in the photo, the paradigm of freezing weather in space.
Timo Klos is a young German photographer of 26 years. His work consists of Orr record his last days with his girlfriend (who is called Orr), Finland. Timo photographed moments seemingly unspectacular (mint smoked a cigarette on the street, a hot bath), while they lasted, generating images with exposures of up to 9 hours. The premise is basically Timo time in motion, but instead of opting for obviousness (in this case, make a video), he made the interesting decision to place the media service of his idea, and not vice versa. Result: he challenges not only the narrative, but also his own artistic practice. His self-portraits end up becoming self-portraits-video. And more: the idea that you take a picture to freeze a moment in the work of Timo, is destroyed. Timo is himself explains: "The more I wanted to capture a moment, unless he appeared in the picture."
Mint cigarrettes 5 minutes. Photo: Timo Klos
Healthy good morning, 20 minutes. Photo: Timo Klos
These photos were included in the latest Talent Issue of Foam .
In the opposite way, we have the Brazilian Ricardo Domeneck . Ricardo began his experiments audiovisual in 2005, invited by TV Cultura, when he made " Throat-text . " From there, he began making pictures in this video: beautiful boys of 20 or so years, inhabitants of the nocturnal wildlife delicious Berlin, pose for their camerinha video. Without doing anything. Minutes and minutes.
Carl, Ricardo Domeneck
The provocative work of Ricardo is that he shrugs off the top "light, camera, action!", Taking the last of the list when you press the on your camera. The narrative gains nuances related to poetry. The video approaches the style of portrait type Imogen Cunningham. And the jumble of references is as fluid as his own artistic path of Ricardo - who lives in Berlin, where and where he writes his books (Letter to the amphibians, and the dog no logos and Sounds: Arrangement: Throat , published by Cosac Naify) , a translator, performer, co-owner of Party Shade Inc. and editor of Hilda . About this habit of classifying the modernist works of art with obvious names, Ricardo says: "He interests me is the guys who work between genres, mixing references, unclassifiable. They are important to me as a person as a person as a human animal not only as 'artist', the word queer. "
Ken Pratt, editor of the English Wound , described his research thus: "Part of the fascination exerted by the work of Domeneck is the refusal to be one thing or another. Sometimes the paper is static such as a paint, and even other than a moment frozen, yet the work is based on time. Other times, the small moments of extreme stillness is amplified in part by refusing to put foreign elements within the scene. This is perhaps something unique to poetry, with its intrinsic dichotomy, that something that is lived is also struggling to be documented in the form of - or passed to - text ".
Portrait of Heinrich, by Ricardo Domeneck
When I asked Richard, recently, in whom he thought when creating your video portraits, the answers could not be more consistent with this confluence of media - and the list includes everything from mining choreographer Klaus Vianna, the German documentary photographer of the 19th century, August Sander: "(...) Maybe there [in the video portraits] a dialogue with German photographers like Walter Pfeiffer, Wolfgang Tillmans, Juergen Teller and Heinz Peter Knes. There is a certain tradition of 'realism' here in Germany that certainly influenced me. "
And Ricardo's realism is, in fact, the documentation of the private sphere, which approximates, in the speech, as the work of Nan Goldin . But this is what you see. Ricardo also includes another layer there: the right not to mean. I asked him where he wanted to go with these video-portraits because I see many possibilities for their understanding: a work that examines the artistic, pure and simple lyricism, beauty-the-beautiful-and-so? And, in the end, verrrrry subtle, the issue of homosexuality. Bueno, if anyone knows the author of the work (for Ricardo), you can not know whether a man who was shot straight, one gay, one straight woman, gay woman, and portrayed himself.
And he ended our conversation thus: "One of the things I like best when I make these pictures is just silence. As I work primarily with words, being a poet and writer, sometimes I get tired of them immensely, these pictures are like a quiet moment. That's why I avoid talking much about them because they have a very delicate balance, I think, it would be easy to drown in words. There is this relationship between time and space, confusing photography and video, there is a certain approach very lightly erotic, perhaps, but underneath they are just moments of "approximation" of the other. In these videos, I always had great pleasure in finding just the delicacy, fragility, the quiet, as the work of Leonilson, for example, a kind of lyricism that is not afraid to just be simple and nothing more. "
This thing's right not to mean anything, to create a work just for delight, is a topic that always yields heated discussions here in the studio. The premise of Ricardo led us to talk about the work of Marina Abramovic and Damien Hirst, Jessica and Breno Mangaba Rotatori and many others. But this is a subject for another post. Wait scene of the next chapters!
This text was written by Adelaide Ivanova, Pius Figueroa, Virginia Tracey, Paula Castro, Silvana Medeiros, Inti Queiroz, Ricardo Domeneck and Cindy Sherman.
See more posts by Magdalene House
(Balance rating: +1, Total votes: 1.) 
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I remember a picture that involves two photographers. The umbom photojournalist and portrait photographer. He had finished the second world war ... I think so ... Surrounded by rubble, a woman poses for the photographer who improvised a simple infinite background. Recognize immediately the look of candor and calm zen photographed portrait of the photographer.
Well, but if it were only that photo of the lady with the infinite background and portrait photographer and large-format camera as witnesses, I would not have plucked and tears I would have never fallen in love with people who were so filled with love that picture.
But where it came from, what caused me so much emotion, so much love for these strangers? The second photograph that made history. The photojournalist's. That picture that fits all, the whole plan together, involving photographer, infinite background of white cloth doubtful lady and gigantic rubble, inert witnesses of human evil.
It is precisely the picture of a photojournalist in the first or second shutter trigger - do not know who fired the first two tasks of remembering good times - I can see the human soul full of love and hope, even though I know all three characters alive in those moments after pain, who escaped by a whisker, celebrated its way, the future life for posterity. And through the decisive moment, the happiness of a new era was immortalized by a poetic eye that saw everything ...
I liked the Collective work, I think can make a samba beloo take it to Paraty in Focus (discussion)!
go ahead!
I would also recall the work of Eve Sussman who was here at Itaú Cultural
years passado.O work shows a video of 9 minutes, 89 seconds at Alcázar called in
which it shows the minutes before Velázquez preparing for the royal family
paint the famous painting Meninas.Nada happens and everything happens.
abs.Armando Prado.
"This thing's right not to mean anything, of creating a work only for the treat ..."
I think this is the main goal of the person seeking the means to express themselves, and if the photograph is no different. The delight is that one?
I feel that equipment and technique, as will become part of the photographer, incorporating up to your photo. There are, but as it did not exist and if so, leaving the photographer free to create its own language, allowing its expression, that which carries within itself, through the images so produced, and I think for your own enjoyment. If we ask the meaning of the image, it does not matter. The important thing is the result which identifies and reflects the author's sense of satisfaction.
Since then other issues arise with the various readings, when language comes to life when it enters - or not - in the inner world of every spectator who feels your feelings, which discusses and rationalises - or not.
How many times a job where we present our favorite photo is rejected? And some time later that image falls in the imagination of others and comes up as a great job? How many jobs are not supported by the collective unconscious and never will run?
"This thing's right not mean anything ..." for who?
If the person was able to express themselves and is satisfied with that image, I think this fact should be celebrated by the person, because "to create a work just for delight" ... the author himself, and because it would be different?
Well esoteric text and images, perfect for galleries of hermetic "major centers" culture.
The endless abyss of modern man's memory is a rich universe imagery that is inscribed in old manuscripts with their enigmatic images and linguistic riddles. Many of these breeders have sought to refer their work to a time where you would find the legendary origins of his art and the source of his wisdom.
The patriarch of mysticism and alchemy in the "West" - Egypt, Ancient Greece - named Hermes Trismegistus, in India, Country mystic par excellence perhaps Vyasa, who dictated the world's greatest poem, the Mahabharata, to Ganeça - the elephant-headed deity - to transcribe the "world history". In all cultures the magic, art and speculation about the things of the world and own world went hand in hand until the link was broken passage from alchemy to chemistry, the centuries gone by there 17/18.
The magic is not over - the world and worldly things are magical to me, is full of magic, my universe is made of this substance, Maya. The illusion is only illusion when confused with reality, the reality for some schools of Hindu thought can only be achieved in a "change of consciousness" where all languages are insufficient to express them.
The language was a dark and secret condition that these artists / thinkers met to express their views. The psychoanalyst CG Jung tried to understand life through the psyche of these particular works - for here the alchemists of the Middle Ages. Joseph Campbell, the great mythologist, following in the footsteps of Jung came to the conclusion that myths "died", already has more importance and are not understood by men of the twentieth century, and a transcript of their conference said it is up to artists to forge new myths.
Vyasa, Hermes Trismegistus, William Blake (writer most controversial of all the history of literature according to Borges), Schelling, Yeats, James Joyce, Rimbaud, Artaud, Paracelsus, Jacob Bohme, Pythagoras, Democritus, Andreas Cellarius, Franciscus Aguilonius, and many others tried to unravel the secrets of the world and the things of the world and in their artistic process that some believe could uncover your eyes and see beyond, and through his many other works have succeeded in awakening to the understanding and perception of other worlds. View is movement.
Currently, images and esoteric texts relate only - I think - the hermetic galleries. The images are so "literal" who already do not say anything and need an esoteric text next to "validate" them, "explains them" and "appoint" them qualitatively.
Perhaps the silence contains all the words.
A large AUM at all!
Namaste!
Well, 'the right thing of not wanting to say anything' reminded me of a phrase of American photographer William Eggleston in the documentary "William Eggleston in the Real World. ' "Whatever it is about pictures, photographs, it's just about impossible to follow up with words. They do not have anything to to with each other." Outside the insistence of the director, at other times of the film, to make it work theorizing. Hugs!
Hey guys, very good discussion, very relevant, contemporary, postmodern and such. I just think very superficial judgment about the history of art, especially in relation to the modern period (but not only - the "isms" arose some time before).
"Sorting things, label them and define them are habits profissinais of warehouse, but also from the artistic - a posture and Opus Dei, it allows me to Pitaco."
Make a judgment like this is to despise the way the process evolved and art history, especially as we took the liberty today of denominarmo us postmoderns. We are basically doing the same as them, drawing borders, breaking boundaries. Or not? We get along, including the privilege to even classify what we do, and call it art anything that is proposed as such. Incredible, no?
Now, an artist who does not mean anything ... duvideodó.
The Great Fair Luciano Trigo, explains many things about the arts and tax disasters in recent years within the galleries, etc.. Purpose and dry what he writes and what I call empulhação everything that does not thrill anyone, but nobody. The author alone, and maybe ... Because many authors failed to create for him, to create for an audience tribalizada. A beautiful creation has to thrill. Or ... It's worth reading the book ...
[...] Afternoon, I invited the writer Ricardo Domeneck (we talked about it here in PEF) to do a few more questions pro Heinz. Ricardo was photographed by him four years ago, for [...]
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