Nº 82
SENTIMIENTOS FEELINGS
Ryde Pride, Isle Of Wight, England, 2018 © Martin Parr/Magnum Photos
MARTIN PARR. PARRATHON Centre del Carme Cultura Contemporània. Hasta el 6 de junio de 2021 C / Museo, 2. València. Entrada gratuita www.consorcimuseus.gva.es
82 Sentimientos Feelings
4. 6.
EDITORIAL
Ser o sentir To be or to feel TEXT
La llave de los sentimientos The unlocking of feelings Laura Terré
24. 32.
End Times
Paul Wombell DOSSIER
Una historia cotidiana An everyday story Rosa Olivares
Larry Sultan Pedro Meyer Nobuyoshi Araki Laura Stevens Kelli Connell Florian van Roekel
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Una emoción, un acto de pensamiento Emotions as an act of thinking Marta Sesé
Sam Taylor-Johnson Bas Jan Ader Dawn Parsonage Edward Rozzo Kader Attia Christopher Anderson Antoine d’Agata Tracey Moffatt
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Algoritmos de la emoción Algorithms of emotion Marta Sesé
Clément Lambelet Lauren Lee McCarthy & Kyle McDonald Satoshi Fujiwara
Portfolio 124.
Lucero Alomía Gallegos
130.
Fábio Cunha
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Helena Goñi
142.
Alison Luntz
148.
Luis Carlos Tovar
Isabel Muñoz. Sin título, from Primates series, 2013. Courtesy of the artist. @isabelmunoz_ photographer
the tales of brief existences. In contrast, photography books are populated by the anonymous. We identify what makes them unique and different, while we read in the expression on their faces — with the atavistic resource of babies who are learning to see the world before putting a name on things — their feelings, anguish, pain, happiness and sadness. We identify with them and are filled with empathy. The portrait is an intimate encounter with someone who allows themselves to be possessed through their expressions and their gaze. We add our melancholy to the sometimes inscrutable faces, a melancholy that is the result of our awareness of the time that separates us from them, of the evidence of death that has left them hanging there. The feeling of loss, of finitude, is superimposed on any portrait: the eyes of the child workers and labourers of the industrial revolution in Lewis Hine’s photographs; the
la madre angustiada que retrató Ernst Haas mostrando la fotografía de su hijo desaparecido o el soldado que ríe indiferente a ella con la alegría de haberse salvado? ¿Somos el funcionario que mira sin ver, en la célebre fotografía de Cartier-Bresson de la liberación de Dessau, somos la informante de la Gestapo descubierta y humillada, o la victima inflamada por la ira de su acusación, o quizá cualquiera del público en cuyo rostro encaje nuestro sentimiento ya sea de cinismo, de miedo, de venganza, o de compasión? Las fotografías nos hacen sentir y cuestionar nuestros sentimientos, nos obligan a tomar postura, nos permiten ahondar en la consecuencia del dolor o la alegría que quizá haya quedado para siempre fijada en aquella sociedad de la misma manera que se ve inscrita en los retratos de los oprimidos y los opresores, de los verdugos y las víctimas. No busquemos solamente en los rostros de nuestros congéneres, porque la fotografía también nos ofrece la posibilidad de mirar a los ojos de los animales, los salvajes o los sometidos, para sentirnos más humanos en su hermandad, en la piedad que nos consume por habernos apartado de ellos. Más allá de los trucos expresivos, de la potente acción de los autores, de cualquier semiótica aplicada a su construcción, la fotografía cuenta con una llave maestra para desencadenar los sentimientos del que mira, destapando su ternura, su deseo amoroso, su piedad, su tristeza o su desesperación: la mirada de los otros contenida en ella. ¶
Laura Terré Alonso (Vigo, 1959) es historiadora de la fotografía, doctora en Bellas Artes por la Universitat de Barcelona. 22
TEXT
eyes of the surprisingly docile and accessible indigenous Americans as genocide is being committed against them; the expression of the gypsy women made free for an instant in Colita’s photographs; the joy of the Barcelona revolutionaries heading off to the front in 1936 in the photographs of Agustí Centelles and Gerda Taro. And so many others. In group portraits, in busy street scenes, we look at expressions on faces and make our choices. With whom do we identify? Whose side are we on? Are we the anguished mother Ernst Haas portrayed holding up the photograph of her disappeared son or the solider who laughs indifferently at her, out of joy at having survived? In Cartier-Bresson’s famous photograph of the liberation of Dessau, are we the faceless bureaucrat who looks without seeing? Are we the Gestapo informer who has been publicly exposed and humiliated? Are we the accusing victim, filled with anger? Or are we, perhaps, someone in the crowd, whose expression reflects what we feel, be it cynicism, fear, vengeance or compassion? Photographs make us feel and question our feelings. They force us to take a stance. They allow us to delve into the consequences of the pain or happiness that perhaps would otherwise have been fixed forever in that society in the same way that it is inscribed in portraits of the oppressed and the oppressors, of executioners and victims. We do not search just in the faces of our congeners, because photography also offers us the possibility of looking into the eyes of animals, both wild and domesticated, so that we can feel more human in their siblinghood, in the piety that consumes us for having moved away from them. Beyond its expressive tricks, the powerful actions of its creators, and the semiotics applied to its construction, photography has a master key for unlocking the feelings of the viewer, revealing their tenderness, amorous desire, piety, sadness or desperation: the look of others bound up in it. ¶
Laura Terré Alonso (Vigo, 1959) is a photography historian with a PhD in Fine Arts from the University of Barcelona.
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Paul Wombell
End Times
La escritora Helen Lewis, que vive en Londres y trabaja para la revista estadounidense The Atlantic, redactó hace poco un artículo titulado “Where Are the Iconic COVID-19 Images?” (¿Dónde están las imágenes icónicas de la COVID-19?). En el artículo, Lewis partía de la premisa de que, a diferencia de lo ocurrido con el 11-S o la crisis de refugiados del Mediterráneo, no conseguía encontrar una fotografía vívida de la pandemia del coronavirus que le ayudara a recordar la sucesión de acontecimientos de los doce meses anteriores. Se plantea cómo vamos a recordar la pandemia si carecemos de imágenes fotográficas clave que perduren en nuestra memoria. Las revistas, así como los medios de comunicación generales, han publicado numerosos retratos fotográficos de gente que trabajaba en primera línea de pandemia, tal y como personal médico, auxiliar o de enfermería. Sin embargo, la COVID-19 no se aprecia a simple vista; solo se ven sus consecuencias: cuerpos encamados y conectados a respiradores o gente con mascarilla. ¿Es posible que Lewis se estuviera equivocando de pregunta? La autora da por sentado que únicamente las fotografías tomadas en una época determinada pueden reflejar ese momento en particular. Esa es una visión fotoperiodística del mundo: solo una imagen sobrevivirá y se convertirá en la estampa icónica que definirá la historia y, además, ese tipo de fotografía siempre habla del pasado y no puede predecir acontecimientos futuros. Vivimos en una temporalidad diferente. Apenas hay tiempo para encontrar o valorar qué fotografía puede distinguirse entre los millones de imágenes que se han tomado y mostrado en distintas plataformas a lo largo del último año y convertirse en la imagen emblemática de la época. Cabe plantearse la misma pregunta acerca de los cuatro años de la presidencia de Trump. ¿Qué imagen fotográfica reflejaría el caos de ese periodo? Quizá nos venga a la cabeza la fotografía de Trump sosteniendo la Biblia a la entrada de la iglesia episcopal de St. John,
Jill Greenberg. Torture, from End Times series, 2005. Courtesy of the artist and Jaski Gallery, Amsterdam. @jill.greenberg
The London based writer Helen Lewis of the U.S. The Atlantic magazine recently wrote an article titled, Where Are the Iconic COVID-19 Images? Unlike 9/11 or the Mediterranean refugee crisis, the article’s premise was that she could not find a vivid photograph from the coronavirus pandemic that might help her remember the events that have folded out during the last twelve months. Lewis raises the question of how will we remember pandemic without any key photographic images that stick in the human mind? Many photographic portraits of people working on the pandemic front line, nurses, doctors, and ancillary staff have featured in magazines and the broader media. However, COVID 19 is not visible to the human eye; only the effects are seen, bodies lying on beds attached to ventilators and people wearing masks. Could it be that Lewis is asking the wrong question? She presumes that only photographs taken at the actual time can represent that particular moment. This is a photo-journalistic view of the world. Only one image will survive to become the iconic image to define history, plus that photography is always about the past and cannot predict future events. We are living in a different temporality. There is little time to find or consider one photographic image that might emerge from the millions of images made and displayed across different platforms over the last year to become the period’s emblematic image. Ask the same question about the four years of Trump’s Presidency. What photographic image would reference the chaos of this period? Maybe the photograph of Trump holding the Bible outside St. John’s Episcopal Church, Lafayette Square, TEXT
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Pedro Meyer
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DOSSIER
Pedro Meyer. Sin título, from Fotografío para recordar series, 1936. Courtesy of the artist. @pedro_meyer
Pedro Meyer. Ernesto consolando a mi madre, from Fotografío para recordar series, 1985. Courtesy of the artist. @pedro_meyer
Pedro Meyer. Mi padre Volando, from Fotografío para recordar series, 1987. Courtesy of the artist. @pedro_meyer DOSSIER
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Nobuyoshi Araki. Sentimental journey, Winter Journey series, 1990. Courtesy of the artist and Three Shadows Photography Art Centre.
Pages 54-55, Nobuyoshi Araki. Sentimental Journey series, 1971. Courtesy of the artist and Three Shadows Photography Art Centre. DOSSIER
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Florian van Roekel. Thursday 11 AM, Gym II, from Le Collège series, 2016. Courtesy of the artist.
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Florian van Roekel. Thursday 11 AM, Gym IV, from Le Collège series, 2016. Courtesy of the artist. DOSSIER
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Edward Rozzo
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Edward Rozzo. Donne Stanche, 1999. Courtesy of the artist.
Edward Rozzo. Donne Stanche, 1999. Courtesy of the artist.
DOSSIER
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Tracey Moffatt
Tracey Moffatt. Fourth #21, 2001. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. 106
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Tracey Moffatt. Fourth #2, 2001. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. Tracey Moffatt. Fourth #5, 2001. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. Tracey Moffatt. Fourth #17, 2001. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. DOSSIER
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Lauren Lee McCarthy & Kyle McDonald
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Lauren Lee McCarthy & Kyle McDonald. How We Act Together, 2016. Courtesy of the artists. @laurenleemack @kcimc
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ISSN: 1577–2721
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Nº 82
SENTIMIENTOS FEELINGS