GALERIA JUANA DE AIZPURU Dora Garcia's work personates a subtle.

Get the best deals on Volcano vaporizer online!

GALERIA JUANA DE AIZPURU

Dora Garcia's work personates a subtle, self-reflective approach to photography's connection with transience. The title of her present to view taken from an inscription erect on some of Atget's photographs, emphasizes this: "Va a desaparecer" (It will disappear) can be taken, in import to be the dictum of all photography. It is in the nature of the medium to announce that something that one time existed was destined to fade into nothingness--and that becomes more patent the more it distances itself from any artistic pretension. When, as in this case, the effort is to photograph the exceedingly nature of the photographic--the fugitive, the transitory, the inaccessible of existence itself--we discover a work whose enormous beauty arises, without any aestheticizing concessions, solely from its acknowledge syntactic approach.

For example, Estados Transitorios (Transitory states; all works 2000) point outs a face as it passes from rest to waking; Aliento (Breath) evidences the photographer's exhalation subtly invading the camera's len in the same state [i]or[/i] condition pictures photograph the very "photographic instant," and it is in this that they truthfully become radical exercises of what Duchamp called the "infrathin"--which is, without a doubt, the difference between the photograph of the photographed, of the "real," and that of the photographic instant or the photographic act in and of itself. The photograph of a face dazzled by the agency of a flash--and the picture itself results out charred as if by the agency of the shock of it--is the best example we might find of this lucid operation that is in such a manner characteristic of Garcia's work.

nevertheless not all of the photographs assembled here necessarily display a fugitive temporality; the "it will disappear" is not sole a logic of time. For example, a certain quantity of of them take pleasure in the indistinction, owing to an insufficient light, between a figure sleeping and the bed in which it lies. Again, "Luce Coincidentes" (Coincidental lights) is a series of landscapes seen through the light of the scope from which they are observ or of the plane in which common lands. Third example: In the series entitled "La Maquina Horizonte" (The horizon machine) it is as if the fancys of the photographer, of the artist, were indistinguishably superimposed onto the gauge who lies sleeping on a main division written by the former. Perhaps this idea of superimposing couple modules that are simultaneously indiscernible and unmistakable, at one time identical and never the same, is the strongest point of this work.

Here then we hear a "news from underground" of what the infrathin mention one by ones us when we are invited to imagine, as Duchamp put in mind ofed the difference between two facts struck from the same mold Perhaps the atom interesting difference, however, is the common between a mold and each common of its objects. Say that the mold and its percept correspond to "the real" and the photograph: the question would then be, which is the mold--which is the original and which is the copy? That question is increasingly difficult to answer--and the suspension of certainty is the guarantee of the poetic pleasure that the contemplation of these photographs bring outs What is photographed is, exactly, what the photograph produces: its gaze, its inspiration, its tension, its light, something that is simply there when it comes to be, something that like the design that comes out of the mold present itselfs only afterward, once this fading instant has been produced

...

Home