Tierney Gearon
Tierney foi bailarina e modelo. Sem formação artística ou fotográfica durante cinco anos fez fotografia de moda. Sem projecto ou ambição comercial ao mesmo tempo ia retratando a família.
Era Tierney uma desconhecida quando Charles Saatchi mostrou as suas fotos na exibição de 2001"I am a Camera" junto a Nan Goldin e Richard Billingham.
"About a year ago, Kay Saatchi, whom I know through mutual friends, asked me to donate one of my photographs to an auction she was organising for the children's charity, Tommy's Campaign. Then I donated another photograph to a charity exhibition raising funds for the homeless, and somebody bought it. I didn't discover until two months later that that someone was Charles Saatchi"
As imagens dos seus filhos são controversas e foram consideradas provocadoras, perversas e obscenas. A polícia de Londres exigiu mesmo que as imagens fossem retiradas de exposição.
"Police have warned that two photographs of naked children displayed at the Saatchi gallery could be seized under indecency laws. Tierney Gearon , who took the pictures, insists they are innocent images of her children doing 'everyday things in a beautiful way. in The Guardian 13-03-2001
"I looked at my pictures today and tried to see the bad things in them that other people have seen. But I can't. Some are describing them as pornographic, others are accusing me of exploiting my children's innocence. I don't understand how you can see anything but the purity of childhood. When the exhibition opened eight weeks ago, the Observer's art critic, Laura Cumming, wrote that I had succeeded in capturing the way that a child would look at the world, almost as though I was a child myself. The exhibition got great press, and the whole experience has been positive - until last Thursday, when I went to the gallery to do an interview and found the police waiting for me. I was completely blown away. I even started joking around with the officers because I simply couldn't believe it was happening. I don't see sex in any of those prints, and if someone else reads that into them, then surely that is their issue, not mine."
Com humildade a que estamos pouco habituados, reconhece que as suas primeiras imagens surgiram por felicidade.
"I have different ways of working, and I use different cameras. It's not like when you're a painter, where you usually have a particular style of working. Photography is a magical tool because anyone can take a good picture, and it could be an accident. I wanted to get better quality images, so I started wondering how I could do large-format negatives - with their endless, pin-sharp detail - but still retain the spontaneity of my snapshots. I discovered a lightweight large-format camera and started getting a different quality: the moment became more like a painting. It's actually not easy to do. A lot of photographers who use large-format cameras make very static pictures, and that's what I think is the edge to my pictures - they really feel like stilled moments. In the beginning, I got my images accidentally, but I subsequently learned how to be ready for the interesting moments."
A entrevista a Tierny de 2001 por Martin Herbert pode ser lida aqui.
Aos 41 anos, grávida, acompanha a doença mental da mãe por três anos para um novo projecto.
THE MOTHER PROJECT
O projecto resultou num livro. A publicação pela Steidl fala por si. Por muitos foi considerado o melhor livro de fotografia de 2007. É este:
Tierney lança-se numa busca pessoal sobre o impacto da esquizofrenia na sua família. O projecto foi documentado em filme. Foi selecção oficial de festivais com São Francisco, São Paulo, Roma, Vancouver, entre tantos outros.
Lise Sarfati
“June Bride” Esta foi uma das imagens da exibição de Junho 2007 na Yossi Milo.
Com Lise Sarfati foram expostos: Diane Arbus, Tracey Baran, Valérie Belin, Lee Friedlander, Robert Gober, Nan Goldin, Wang Jin, Seydou Keϊta, Rosemary Laing, Nikki S. Lee, Loretta Lux, Robert Mapplethorpe, Karl O. Orud, Bill Owens, August Sander, Lise Sarfati, Rudolf Schwarzkogler, Malick Sidibé, Alec Soth, Arthur Tress, Chris Verene and Akram Zaatari.
“June Bride provides an uncommon look at a common practice: the marriage ceremony. In this assembly of unconventional wedding photographs, the idea of the bride varies as radically as do cultural differences, religious traditions, family dynamics, and modes of dress. Brides appear in various guises, from Diane Arbus’ bride shrinking from her groom’s overeager kiss to Nikki S. Lee’s impersonation of a Jewish bride, from a bride captured in mid-air, as in Rosemary Laing’s bulletproofglass series, to an earnest, middle-American bride in a family photo by Chris Verene”
Pena que a Milo está tão longe e que esta exposição não tenha rendido um livro.
Um livro fantástico da Lise é "La vie nouvelle"
"In each of these portraits Lise Sarfati dramatizes the complexity of adolescent identy: within unfamiliar territory - both emotionally and physical - where the simplest of feelings become exalted and everything is lived with an intensity that adults will never again be able to feel. We are talking here of a parallel reality, an interstitial territory which doesn´t understan geographical spaces or political systems, which no longer belongs either to a completely real reality or to a conciously conceived fiction, but rather finds itself fed by its own rituals and codes, where the dividing line between good and bad , happiness and sadness, innocence and perversity is extensively blurred." F.Javier Panera
Marina Abramović
Houve um dia que comprei este livro e fiquei inquieto.
Não é fotografia, mas as imagens são de um visual espantoso.
Não é fotografia, mas as imagens são de um visual espantoso.
Marina é uma das mais notáveis artistas contemporâneas.
Para pensar: How we in the Balkans kill rats
Alec Soth - Dog Days Bogota
Um relato profundo por um fotógrafo fantástico.
A história deu um livro. E que livro. Saiba mais aqui
A conversation with Miguel Rio Branco
"To me Art is a question of: first, having something to say from the inside that has nothing to do with description of reality, reality being just the material thing that the camera captures. So for this question I must say that I always focus on the images I want to SHOW, not necessarily to see, some of those images I would even want NOT to see. I do create images that, when related to others in specific constructions, make sense, create rhythms and bring emotions to the surface.
I don't see a gray zone: just some works that are art and others that are not, and this has nothing to do with being photography, objects, sculpture or happenings. People today are just afraid of saying that they do not like something for fear of not being... fashionable .
I guess we can see Art in a traditional picture, from someone without the conscience of the Art market, more than from today's conscious "artists", [which are] professionally directed to the Art market.
We are in the word dominated by propaganda, advertising and marketing. And in this kind of world, anything can become art. You just need a good salesman."
Toda a conversa para ler aqui.
There's no an interventionist God
Aqui fica uma entrada para o meu novo projecto:
There's no an interventionist God
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