08 dezembro 2015



* texto apresentado na Pinta Art Fair, Miami, EUA, 2015

“The photograph is literally an emanation of the referent. From a real body, which was
there, proceed radiations which ultimately touch me, who am here; the duration of the
transmission is insignificant; the photograph of the missing being, as Sontag says, will
touch me like the delayed rays of a star.”
Roland Barthes

This group of Brazilian contemporary photographers expands the landscape genre, including within natural and architectural environments in which it is possible to find shared patterns. Cássio Vasconcelos revisits a foundational moment. In Viagem Pitoresca pelo Brasil #2” he evokes the footsteps of Hercules Florence - the traveler who anticipated the invention of photography in the 19th centuryThe tactility of the virgin jungle that he captures like a new explorer allows us the virtual experience of entering and inhabiting the landscape through that photographic “second look” that according to Roland Barthes derives from the desire to be there, physically present.
If tactility refers to the gaze of one who is immersed in the landscape surrounding his body, Vasconcelos is  also a master in panoramic views that reveal the inhabited world from a distance which manages to equate the topography of a horizon formed by mountain ranges to the urban towers rising into the sky as can be seen in “Amanhecer no Rio #5” and “Sao Paulo #5.” The transit of the gaze across both cities perceived from afar constitutes a psychogeographical experience that reconciles nature and civilization. The aerial photographic view in the work of this artist, who is also a pilot, reveals geometric patterns in the landscape and opens the possibility of creating fantastic photographic fictions. By unifying a myriad of shots of real airports, Vasconcelos ends up unifying patterns of connections that ultimately coincide with the networks of interaction of many natural systems. His work reminds us that everything is connected and that the human imagination creates as much as it shares the patterns of the natural universe.
Patricia Gouvea reaffirms the power of the body with which we inhabit the world: The elements of nature, as well as the buildings created by humans, are a body wrap, and our positionsand movements radiate the possibility to transform our environment constantly, while the spiral of time passes by, changing everything. The video Retrato de artista quando Espiral | Portrait of the artist as Spiral is part of a series of portraits of autobiographical references that observe the river of time within the course of ever-changing emotions and experiences. The spiral formation, constant and changing, corresponds to a medical image of the inside of his body. In the photographs of the MAC series (Modulating the Body Actively), conducted in conjunction with the Uruguayan performance artist Alejandro Masseliot, Gouvea explores the body from the outside as an expressive  act of  the "co- existence" with architectures that sharpen, in dialogue with us, their organic character.  

Lucas Lenci also captures the presence of human beings in the inhabited world by editing found images that capture gestures of our immersion in a landscape in which the urban or the natural function as a wrapping for the act of inhabiting and of relating to one another. Not only does our body modulate the world and is modulated by it, but artistic practices have the potential of making us aware of the potential for such interaction. Each space is transformed by the remnants of our presence and the forms we create contain those that structure the universe itself. They are a way of extending our body, and of its ability to transform and be incessantly transformed. This partnership between home and body as spaces of the self, intrinsically proposes itself as a way of common knowledge that awakens the awareness of our presence in the landscape and its ability to activate it.

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