I have visited several exhibitions in which the discourse of the commissioners is imposed on the work of photographers. The room Canal Isabel II Guy Bourdin, who rejected the 1985 National Prize of Photography in France. Another has just rejected National Arts Award. Santiago Sierra demonstrates that art, although at times an excellent refuge from the injustice and pain, is ideology.
When he was in the same room last work Isabel Muñoz commented that the work of the Commissioner had mastered the powerful architecture of the water tank. In Message for You opposite happens. On the top floor we find the statement of intent of the artist: I do not care art because nowadays even a concierge can be considered an artistic genius ... I do not know have against janitors.
All photographic work, contract work for fashion magazines and brands glamor, was considered by the artist himself, a minor work in front of his painting, and that is why it was never designed to be displayed in a space exhibition.
was considered provocative and break with fashion photography before the seventies, but was not the first nor the only one ( Richard Avedon, Helmut Newton ), only the most mysterious, because he drank of surrealism and painting. The same is because Nicole Meyer is both the sovereign muse mannequin poses and one of the commissioners, leaving the same author was much more interesting.
Madrid are also shown in two exhibitions symmetrical and had been waiting in anticipation. Yubero Santos (Madrid, 1903 - 1994) in the Board of the Community of Madrid in Alcalá 31, and Brangulí (Hospitalet de Llobregat, 1879 - 1949), in the building of the telephone.
Both were photojournalists, both covered key periods of our history, dictatorship of Primo de Rivera, Second Republic Civil War, and both continued to work on the Franco dictatorship.
The two exhibitions have great curators, Publio López Mondéjar for dedicated Yubero Santos, and Javier Vallhonrat and Rafael Levenfeld to Brangulí . But the discourse of the commissioners again imposed discourse of photographers.
Yubero In Santos dominates the customs, Brangulí naturalism in a decorative plant. A biographical trajectories so intense they can not undress ideologically, placing the photographers as mere recorders of the event historical, not position ourselves in the events that passed through their lives.
Brangulí begins with Tragic Week in Barcelona (1909), then the dates are mixed, and the images are presented with a criterion on which raw aesthetic and thematic.
photographs, altered with respect to its original form, suspended from his role as the industrial architecture more reminiscent of the Düsseldorf school that the great school of English reporters in the early 30 years of the twentieth century in Spain .
For Yubero Santos , Is met strictly chronological and emphasizes a photojournalist populist vein, much like all the parsley sauce. Not surprisingly, the larger image and emblem of the exhibition is a photograph of Celia Gámez vedette.
Centelles exposure, the lives of a photographer in the Conde Duque (2007), curated by Miquel Berga , or during the exhibition last summer This is war (Robert Capa and Gerda Taro) curated by Cynthia Young and Kristen Lubben, the speech marked a contribution to the historical memory which contrasts the emerging discourse on current exhibitions in the beginning of the autumn season in Madrid.
0 comments:
Post a Comment