January 27, 2011 § Leave a comment
yet, because of prevalence of fornication, let each man have his own wife and each woman her own husband. 3 Let the husband render to [his] wife her due; but let the wife also do likewise to [her] husband. 4 The wife does not exercise authority over her own body, but her husband does; likewise, also, the husband does not exercise authority over his own body, but his wife does. 5 Do not be depriving each other [of it], except by mutual consent for an appointment time, that you may devote time to prayer and may come together again, that Satan may not keep tempting you for your lack of self-regulation.
January 27, 2011 § Leave a comment
i see my hand under a depth of blood
i hear them cry from my insides
my womb crumbles when the children sing
i here the echos in and out the house
they run run in circles, naked steps on the green grass
i clean their bodies in the bathtub
it seems like water but it feels so dark
i cleanse their hair with lavender and thyme
and she says: mummy i cry from the inside
your womb crumbles i want to run so fast
echos follow me around the house
i run run naked under the moonlight
hush hush baby its time to sleep
to dream forever and forget me.
May 26, 2009 § 5 Comments
The use of the archive by the artist personifies a figure of artist-as-archivist, similar in certain ways to the figure of the artist-as-curator since it is a work that consists in the organization of objects or works to give them, as a whole, a specific narrative. The particularity about the artist-archivist relies in that the intention is not to totalize, but to relate: to build arbitrary bridges between one object and another in order to re-signify temporally the archive as such.
The Rudy Effect is a manual that sets out from a Kodachrome slides archive that arrived as a legacy from Rudy Nagel –from whom the name of the project is taken–, and after four years of view and study, a sort of continuation of the archive is created, with its categorical title “Rudy Effect”. That is, the project emerges as a recycling process of the gift; a way of using the received in the reels and transforming it into a manual that –ideally– permits any individual to reproduce the Rudy effect in their own time (among their current formats, of course).
The archive consists of 150 dark-brown boxes that contain, each, one reel of 36 slides. Each box is tagged and inventoried with diverse locations of Rudy Nagel’s travels, from South America to Japan during the decades of the 60’s and 70’s. The main value in this archive is the format in which they were taken, that saw its decline with the ascendance of the digital era, and that met its death in June 2009, two months prior to the publication of the manual. The news came punctual –and paradoxical– during the production process of the Rudy Effect. It read like this in the Reuters from New York: “Kodachrome, the film brand touted as the stuff of memories, is about to become a memory itself as Eastman Kodak stops production due to overwhelming competition from digital cameras”. And like this in the New York Times: “The Eastman Kodak company announced on Monday that it would discontinue the manufacture of Kodachrome film, whose name became synonymous with richly saturated color –reds, especially– and postcard-perfect settings”.
The Kodachrome film, that since the 1930’s when it was introduced to the market proposed traveling and journey as a main theme for photographs (“the stuff of memories”), becomes yet more seductive –for this specific project– when the last processing lab closes down for lack of demand. It permeates with a new nostalgia, so to speak, by becoming history as a format itself. It is this twofold anachronism what propels the project to emerge as a sort of manual to recreate the “Rudy effect” within the limits –or no limits– of modernity, and suggest, just as Kodachrome suggested in its time, the memento and the very particular framing in Rudy’s archive, as a significant theme for photography right now.
This project consists of working among the possible positions that a photo has within its field of coexistence with the rest, and within a time and circumstance completely different from its own. In other words, the project means to build bridges in order to bring life to the archive and bring it to the present time with a playful and mobile quality –A way of exceeding its original creative impulse and promote the mobility of an effect within photography and time. Therefore, it is the manual what is presented here and not the archive, given that the first confers life to the latter, and resignifies it.
The work has the quality of becoming a manual because of the rules that derive from the photographic practices of an amateur traveling man. Thanks to the empty location of who took the pictures of the archive, many people can repeat the same effect based upon the way Rudy Nagel operated.
The camera to use must be pocket-sized to allow the instant take. Any planning would unbalance the contemplated moment.
Keep a travel-log for the sake of documentation.
The most important gestures come from error. In other words: don’t mind the lack of photogenes.
Fist-intention photographs are the best, without post-production or planning. They should emerge from a long contemplation of space, though.
Flash is not allowed, so day photographs are recommended, they give your shots a sort of tungsten; a warm, natural light.
There is no field-depth as a base, which gives out a feeling of bi-dimensionality.
Seek big, tall open-spaces that give out a sense of being too small against immensity.
The use of characters in the picture will work as a scale to draw attention to the size of the space.
It Was There, I Was There
Space, place, landscape or historic monuments are the purpose of the photo, with an on-the-side register of who is visiting.
The Jack Kerouac
These are on the road photographs without any particular relation with the photographer.
The On the Road
When photos are out of focus from being taken from a moving platform.
These are elements that enter or exit your frame by mistake.
The Invisible Self-portrait
A small part of the platform on which the photographer is standing may appear in the frame to imply the “I was here”.
On appearing inside the frame taking a photograph inside the photograph.
This is about the voyeuristic act of taking photographs of people taking photographs.
Hues and color
From the boxes to their content everything has a film of dust to them and a sort of old-brown color, the rest of the colors are dimmed in the same palate except for the Technicolor reds that strike out.
The nonsense; a photo is always and necessarily about something.