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CHILE, 1973
http://www.ruido-blanco.cl/

BIO
Magíster y arquitecto de la Universidad del Bio-Bio. Vive y trabaja en Concepción desempeñándose como Director de Arte de la revista Arquitecturas del Sur y académico-investigador Universidad del Bio-Bio.


©Nicolás Sáez

RUIDO BLANCO. Una imagen poética/política
Por Andrea Jösch

Más allá de su significancia científica y técnica, nos encontramos frente a una imagen metafórica: el ruido blanco es un espacio visual que actúa frente a nuestro inconsciente. Lo que está adentro de la pantalla no puede ser visibilizado como representación de la realidad, porque es cuestionado por la interferencia, es problematizado desde su escucha, mientras aquello nos hipnotiza.

Las imágenes de Nicolás Sáez permiten que las voces silenciadas sean atendidas, a través de aquel ruido orquestado en densidades constantes, las fotografías se hacen “oír”. Revelan la importancia del problema de nuestra ceguera frente a la influencia de los medios de comunicación, mientras se constituyen en cuerpo político, introduciendo y modificando lo público desde el espacio individual.

Si el domino cultural se produce a través del imaginario del otro que nos mira y nos narra, crea y construye, la pantalla - como espacio contenedor de mundo - nos ha convertido en autómatas, haciéndonos creer que lo ahí transmitido es nuestra posibilidad de existencia. (...)

(...) Estamos permanentemente habitando un lugar que difícilmente reconocemos, lugar de apariencias, al cual pertenecemos. Es ahí donde las imágenes se convierten en un campo expandido, extendiendo el límite de la fotografía, pues la imagen, si bien ha domesticado nuestra mirada, al parecer es la única que podría devolvernos también nuestra capacidad de desocultamiento.

Si lo contemporáneo es una operación siempre en progreso, por ende, no puede ser medible, las imágenes se pueden entender como registro que siempre es interpretado con posterioridad a su ocurrencia, para ello la recepción heterogénea, la interpretación es lo que otorga significancia. Si crear no es inventar, sino devolver a través de la construcción, entonces podríamos decir que las imágenes están en proceso de devolvernos nuestro cuerpo. (...).


BRASIL, 1988
http://www.thaisafigueiredo.com/
http://www.thaisa-figueiredo.tumblr.com/

BIO

Artista brasilera. Descubre la fotografía en el año 2006, como autodidacta. En 2012, completa el Máster Internacional de Fotografía Conceptual y Artística en EFTI, Madrid - España. Actualmente, además de continuar fotografiando, produce trabajo basado en fotografías correspondientes de otras personas a través de intervenciones con productos químicos y costuras.

©Thaisa Figueiredo

FATRIA

Cada parte se identifica con la otra y con ella se confunde.

Estamos tan entrelazados, conectados con la otra parte que no es posible percibir dónde termina una y empieza la otra. O lo que es genuinamente una característica mía. O del otro.

Estamos unidos por vínculos invisibles, pero no inexistentes. Somos fruto del mismo árbol, pero no iguales. Somos diferentes, pero nuestras diferencias, así como todo lo que nos rodea, resultan en el intercambio, en la construcción, la deconstrucción, el conocimiento y el reconocimiento del mundo y de nosotros.

Nos identificamos en las diferencias y similitudes del otro y confundimos a nosotros en una persona que podría ser nosotros mismos..


2012.
GREECE, 1981
http://www.petroskoublis.com/

BIO
Studied photography in Athens, Greece.
Working as a professional photographer since 2004, cooperating with major Greek magazines and published in national and international press.


©Petros Koublis

INLANDS : MINOR LANDSCAPES

The images of this series are exploring the landscape through small individual fragments, each one of them describing a state of transformation. Those miniature scenes are approached as if they were completely independent existences, released from their actual surrounding space and identity. Thus, they can be openly interpreted, as bearers of symbols and equivalents.

Every landscape can be decomposed in an infinite number of minor ones, progressively increasing their introversion, as their actual nature seems to be replaced by a more abstract one.

When we abandon our perception that is based on knowledge and familiarity we find ourselves disorientated, trying to rely only in our senses. The narrative of the project is based on this disorientation. The images try to examine the limits of a Landscape, moving inwards, in a process that looks both perpetual and enchanted.

The interpretation of the images as individual fragments remains open, but in the same time it aims to maintain a certain obscurity. This is the second element of the series' narrative, the Mystique, an unenforceable transformation that take place beneath the surface of things.

Inlands is the area that lies on the opposite of the horizon;
it's part of the land the lies inside us..
ITALY, 1981
www.terraproject.net

©Pietro Paolini


EQUILIBRIO SOBRE LO CERO
ECUADOR 2011-2013

Caminando sobre la línea ecuatorial las fuerzas centrífugas que empujan por el Norte y el Sur son las mismas, por eso es muy difícil mantenerse en equilibrio. La condición de Ecuador, como muchos países de América Latina, recuerda este precario equilibrio.

Por un lado, la nueva constitución escrita con el presidente Rafael Correa, la nacionalización de los recursos petroleros y las grandes inversiones en infraestructuras empujan el país a lo largo de un cambio cultural y económico sin precedentes. Por otra parte las consecuencias de la centenaria explotación de los recursos, los intereses internacionales y las fuerzas conservadoras están aún presentes en el país.

En este equilibrio entre el pasado y el futuro que se está construyendo una nueva identidad, aún no bien definida, rica de tradiciones y de miradas contemporaneas, que se esfuerza de contribuir al desarrollo de todo el continente Latinoamericano..


Pietro Paolini.
ARGENTINA, 1990
http://www.gag-ball.com/

©Sebastian Gherrë | GÄG-BÄLL



GÄG-BÄLL is the alias for Sebastian Gherrë, musician and visual artist, born in Buenos Aires in the late Golden years of the 80’s. He later moved to the capital of Chile with his mother, becoming an earnest student of the Municipal Theatre in Santiago from 1997 a 2003. But it was only on 2009 when the character of GÄG-BÄLL emerges from the floors of the great Santiago, where Gherrë gain swift popularity in the Gay art circle by means of his explicit photographs revolving around sex.

With a particular seal, Gherrë uses Polaroid pictures where cum-shot and close-ups of the body are featured by Young male prostitutes – whom Gherrë himself admits to have recruited-, building up a double-edge game, where he seeks satisfaction as well as a concrete means..


Valentina Flamini
UNITED KINGDOM, 1990
http://www.albertelm.com/

©Albert Elm

WHAT SORT OF LIFE IS THIS...

HERE Dummy book / ACÁ Libro maqueta
CHILE, 1986
http://www.danielacontreras.com

©Daniela Contreras


INQUIETUD - PERSISTENCIA

Narra a través de muros, pisos, techos y ruinas un recorrido por el más grande campo de concentración y exterminio humano de la segunda guerra mundial: Auschwitz-Birkenau. En esta sucesión de fragmentos se expone a la materialidad de las edificaciones en una doble condición, como huella de lo que aconteció, testigos mudos de la catástrofe. Al mismo tiempo, como superficie de inscripción del tiempo, en la degradación e intervención posterior de su uso como campo de exterminio (tanto al ser ocupada por los ejércitos soviéticos pero también en su condición de museo y la intervención que han hecho algunos visitantes).

Estos extractos visuales van construyendo un recorrido visual que sigue al recorrido que actualmente está abierto al público y lo convierte en una recuperación de la memoria vigente en sus instalaciones..


Daniela Contreras
JAPAN, 1982
http://www.hajimekimura.net/

©Hajime Kimura


MAN & DOG

I have no memory of my grandparents. I heard from my father that my grandmother lived until I was three years old.

My father was a bit plump; he looked grumpy and didn’t laugh much in front of me. As time passed by, he became smaller and smaller. Long after I left home to live on my own, my father bought a black dog.

Its belly was partly white, which contrasted with its body.
The doggy’s name is Kuro that means “black” in English.
Every time my father opened the door of the garden, the dog would stick out its tongue and wag its tail because it understood that it was going for a walk.

However I’ve actually never seen my father walking his dog.
But if the dog wasn’t around, then neither he was.
Every day, walking the dog took him about two hours. Now that my father passed away, I do it in his stead. Whenever I walk the dog, I have flashes of memories of my father by speaking to the people with whom he used to chat.

Much to my surprise, that was the side of my father that I never knew..


Hajime Kimura
SPAIN, 1987
www.laiaabril.com

©Laia Abril


THINSPIRATION

(...)In 2010, after leading a year in recovery to overcome ten years of bulimia, I decided to document the struggle of girls battling the same disease. My mission is to bring awareness about the existence of new triggers for Eating Disorder's in our society; recognize the collateral victims affected by the illness; clarify taboos and misconceptions about these diseases; and, create a better informed community capable to deal with eating disorders and its victims.

Although the project as a whole remains untitled, it is focused on Eating Disorders. So, far the project is divided into three chapters. Chapter One: 'A Bad Day' portrays the daily life struggles of a girl with bulimia to clarify the misunderstandings that surround the disease. Chapter Two: 'Thinspiration' presents photographs of self-portraits taken by Pro-Ana bloggers to motivate other women to be thin; this chapter is an introspective journey across the nature of obsessive desire and the limits of self-destruction to denounce the disease’s new risk factors and motivators, like social networks and photography.

For more than two years, I worked on Chapter Two: 'Thinspiration', a documentation of the Pro-Ana community members, who started to take self portraits of their thin bodies, and a portrayal of their obsession with their bodies having to be a certain way, like knees apart, sharp clavicles or highlighted ribs and spine bones. The images in this chapter are the result of photographs that I took of the computer screens depicting thousands of vernacular self-portraits taken by Pro-Ana members and shared on their blogs and websites. I re-take their self-portraits, photographing and reinterpreting their images from the screen, resulting the visual response to the bond between obsession and self-destruction; the disappearance of one’s own identity.

The project is a personal and introspective journey across the nature of obsessive desire and the limits of auto-destruction, denouncing disease’s new risk factors: social networks and photography..


Laia Abril.


THINSPIRATION FANZINE

©Laia Abril
ITALY, 1984


©Valerio Polici


ERGO SUM

Becoming an adult, it is a complex and sometimes very painful process. The responsibility, the renunciations, the loss of the wonder are not always easy to accept.

Terrorized from this transition some kids decide to stop for a while in a halfway stage to take their "out of cell time", before that the tranquillity and the carelessness will vanish forever.

I decided to tell this suspension through the community of the graffiti writers, that in this activity they find the perfect tool for such evasion. In the obsessive research of a momentary freedom, they tend to substitute the real world with their micro-reality, to which they feel to belong much more.

For this reason, their existences got catapulted in this limbo populated by myths legends and heroic deeds, where often they remained locked for the entire life.

(...)In the last two years i followed several groups of graffiti writers between Europe and Argentina.

Among intrusions, climbing, infinite running and a lots of adrenaline, this is the story of their escape and to a certain extent also about mine.
(...)
.


Valerio Polici
 
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