Chema Madoz: Una alcantarilla convertida en escurreplatos
viernes, 21 de julio de 2017
Hebe Robinson / «Echoes of Lofoten»
Around 1950, families in small and remote fishing villages in Lofoten, Northern Norway, were offered a lump sum from the Government to leave their homes and relocate to more central places. They also committed never to return and resettle.
This was part of the governmental plan to centralize and modernize the nation after the Second World War. Communities that had survived for centuries in a hostile environment on the border between steep mountains and rough sea, totally isolated during the winter months, collectively decided to leave.
Neighbors and friends through generations packed everything they owned and left their homes and each other. Villages were totally abandoned within months. Due to shortage of building materials, they dismantled their houses and brought their homes with them as well, leaving only foundations. The traditional self-sufficient ways of life were lost, and a part of the coastal culture with it.
Today, 60 years later, nature has reclaimed the areas. Looking closer however, signs of lived lives still remain; stone fences and foundations still stand, surrounded by hidden paths and traces of gardens with herbs and flowers.
In this photographic project, I am bringing families and their lives back to the villages they once lived. Historic photographs from these places are returned to where they once were taken, linking past and present. The project is about passing of time, history, destinies and changes in society. Pictures and their histories are from descendants of those in the pictures.
Hebe Robinson
Johan Kristian Alfred Nilsen married Hanna Sofie Petersdatter. They had seven children and a foster son. Kristian was killed in 1944 by a mine that had been washed ashore by a storm. He was standing outside his house when it exploded. Three days before the accident, he wrote a letter to his daughter where he praised God for having such patience and not punishing them for their sins, but protecting them from accidents and illness.
Edle, Anne and Fredrik were the last generation growing up in Hermannsdalen. From November until April the family lived completely isolated. When Edle was eight years old, her grandfather took her and her sister Anne to the top of the mountain. From there, they could look down on their neighbours in the village Vinstad. She had never seen other houses before.
The wood gathering party poses for a group photograph.
Kalle and Astrup drinking outside the barn. After a long and isolated winter, it was time to enjoy the company of friends and family. Parties were arranged, although the guests had to walk for four hours to get there. In the midnight sun they danced to music from the wind up gramophone and drank homemade rhubarb wine.
Haying in Hermannsdalen. The hayfields were rich and fertile, but hard to get to. The men had to tie ropes around their waists on the steep hillsides. Two of the girls from the farm in Hermannsdalen are posing with three young men helping out during the haying.
Heiderg, Jacob and Fredrik are visiting the Myhre family. Visitors were rare, and a good opportunity to bring out the camera to document the happening.
Jørgine gave birth to eight children in this house, and she herself was born there. She lost three of her daughters there, too. Her daughter Fredrikke died in the winter at the age of 16. They had her lying in a shed as it was impossible bring her to the churchyard until spring. Every night her little sister Anne went to her to say goodnight. Jørgine is projected on the wall of her home for 90 years.
German soldiers are in Hermannsdalen to detonate mines that had been washed ashore. Gustav and his son Fredrik did not want the soldiers to enter the house. They were not considered guests. And inside, Jørgine, now close to ninety years old, laid in bed pretending to be ill with an illegal radio hidden under her blanket.
Mathilde was shy in front of the camera.
Alfred, Arne, Roald, Arnolda, Nanna, Torleif, Jon, Finn and others, out walking, probably on a Sunday after church.
Klara with her brother Almar.
Fair weather party.
(Interesante la manera en que esta técnica de collage se empieza a utilizar, para rescatar historias)
This was part of the governmental plan to centralize and modernize the nation after the Second World War. Communities that had survived for centuries in a hostile environment on the border between steep mountains and rough sea, totally isolated during the winter months, collectively decided to leave.
Neighbors and friends through generations packed everything they owned and left their homes and each other. Villages were totally abandoned within months. Due to shortage of building materials, they dismantled their houses and brought their homes with them as well, leaving only foundations. The traditional self-sufficient ways of life were lost, and a part of the coastal culture with it.
Today, 60 years later, nature has reclaimed the areas. Looking closer however, signs of lived lives still remain; stone fences and foundations still stand, surrounded by hidden paths and traces of gardens with herbs and flowers.
In this photographic project, I am bringing families and their lives back to the villages they once lived. Historic photographs from these places are returned to where they once were taken, linking past and present. The project is about passing of time, history, destinies and changes in society. Pictures and their histories are from descendants of those in the pictures.
Hebe Robinson
Johan Kristian Alfred Nilsen married Hanna Sofie Petersdatter. They had seven children and a foster son. Kristian was killed in 1944 by a mine that had been washed ashore by a storm. He was standing outside his house when it exploded. Three days before the accident, he wrote a letter to his daughter where he praised God for having such patience and not punishing them for their sins, but protecting them from accidents and illness.
Edle, Anne and Fredrik were the last generation growing up in Hermannsdalen. From November until April the family lived completely isolated. When Edle was eight years old, her grandfather took her and her sister Anne to the top of the mountain. From there, they could look down on their neighbours in the village Vinstad. She had never seen other houses before.
The wood gathering party poses for a group photograph.
Kalle and Astrup drinking outside the barn. After a long and isolated winter, it was time to enjoy the company of friends and family. Parties were arranged, although the guests had to walk for four hours to get there. In the midnight sun they danced to music from the wind up gramophone and drank homemade rhubarb wine.
Haying in Hermannsdalen. The hayfields were rich and fertile, but hard to get to. The men had to tie ropes around their waists on the steep hillsides. Two of the girls from the farm in Hermannsdalen are posing with three young men helping out during the haying.
Heiderg, Jacob and Fredrik are visiting the Myhre family. Visitors were rare, and a good opportunity to bring out the camera to document the happening.
Jørgine gave birth to eight children in this house, and she herself was born there. She lost three of her daughters there, too. Her daughter Fredrikke died in the winter at the age of 16. They had her lying in a shed as it was impossible bring her to the churchyard until spring. Every night her little sister Anne went to her to say goodnight. Jørgine is projected on the wall of her home for 90 years.
German soldiers are in Hermannsdalen to detonate mines that had been washed ashore. Gustav and his son Fredrik did not want the soldiers to enter the house. They were not considered guests. And inside, Jørgine, now close to ninety years old, laid in bed pretending to be ill with an illegal radio hidden under her blanket.
Mathilde was shy in front of the camera.
Alfred, Arne, Roald, Arnolda, Nanna, Torleif, Jon, Finn and others, out walking, probably on a Sunday after church.
Klara with her brother Almar.
Fair weather party.
(Interesante la manera en que esta técnica de collage se empieza a utilizar, para rescatar historias)
Chema Madoz 1958
Chema Madoz © Diego Sinova
Nace en Madrid, en 1958. Fue discípulo de Javier Valhonrat en los talleres de fotografía del Círculo de Bellas Artes de Madrid. Estudia Historia del Arte en la Universidad Complutense de Madrid, carrera que simultanea con los cursos de fotografía del Centro de Enseñanza de la Imagen. En 1983 realiza su primera muestra individual en la Real Sociedad Fotográfica de Madrid. Desde 1990 comienza a desarrollar el concepto de objetos, tema que será una constante en su fotografía hasta la fecha. La obra de Madoz se acerca a la variante de las esculturas perecederas; caracterizadas por una sencillez total, siempre en blanco y negro con una cuidadosa iluminación y primorosa simplicidad en la fabricación de los objetos que fotografía.
Premios
Premio Kodak España (1991)
Premio Nacional de Fotografía (2000)
Premio Higasikawa Overseas Photographer del Higasikawa PhotoFestival (Japon) (2000)
Premio PhotoEspaña (2000)
__________
___________
Le gusta viajar por carretera y contemplar cómo evoluciona el paisaje ante la ventana de su coche. Chema Madoz se mueve profesionalmente entre la fotografía y la escultura, pero tiene alma de copiloto. En su trabajo predominan las ideas sobre la realidad. La fantástica idea que dio origen a la nube convertida en árbol fue creciendo a medida que corrían los kilómetros; luego la fue ordenando, entrelazó elementos y la construyó para poder retratarla. Vista sobre la página entra bien por los ojos, todo queda en su sitio. En una primera impresión causa una ligera extrañeza, luego aporta confianza y al final invita a la sonrisa. Forma parte del mundo personal de su creador, aunque en este caso corra el riesgo de resultar demasiado atractiva y que el espectador se quede en esa primera etapa y se dé por satisfecho. Carece de ese revulsivo que surge de imágenes más secas. Pero, como el resto de su obra, tiene múltiples lecturas, empezando por el aura poética que desprende. No se trata de algo que busque, pero surge de entre esas nubes perdidas en el cielo y del árbol que no clava sus raíces en la tierra. Poesía y fotografía coinciden en que ambas trazan conceptos e ideas con los mínimos elementos posibles. Como en esta foto, aunque no se trate del territorio habitual de Madoz. Sus imágenes suelen ser más áridas, con menos paisaje. Técnicamente ha sido construida como se hacían los collages antiguos: dos imágenes superpuestas, una del cielo y otra de un árbol, puestas una encima de la otra. Sencillo de técnica pero nada fácil de resolver. Detrás quedan muchas horas de espera para cazar la nube que mejor se adapte a la copa del árbol y a su ligero y volátil tronco.
Amelia Castilla
“ESTILO PROPIO” Aunque hoy nadie duda de su talento para mezclar elementos al servicio de la emoción, el artista tardó en hallar ese “estilo propio” que le ha convertido en uno de los fotógrafos más auténticos y reconocibles del Estado, Premio Nacional de Fotografía en el año 2000. A finales de los 80 su trabajo se centraba en la figura humana y sus instantáneas guardaban relación con el reportaje callejero. En Tabakalera hay sólo unos pocos ejemplos de aquella primera época en la que una crisis creativa le hizo dar un giro de 180 grados. Madoz pensó: “¿Para qué buscar en el exterior lo que está en mi cabeza?”. Y se encerró en su estudio, rodeado de las ideas y objetos que desde entonces protagonizan su mágico universo.
Parte de un reportaje de Juan G. Andrés tomado de Diario de Gipuzkoa 21 de julio 2017
jueves, 20 de julio de 2017
Tecnología / Fotos y celulares
(Foto: Guillermo Sologuren)
El reconocido cineasta británico Peter Greenaway, nos deja el siguiente apunte sobre fotografía: «Hoy, con las nuevas tecnologías, podemos tener acceso a un teléfono celular, con el que se pueden tomar muchas imágenes», no obstante, «creo que sólo existen unos 50 buenos fotógrafos en el mundo».
Tomada de la nota de La Jornada replicada en la Revista Rancho Las Voces.
Pulse el enlace para consultar la nota.
Buscar un cálculo de imágenes que nunca serán impresas y de perderán.
Alemania / Exposición «Sospechosos. Flâneur en Berlín» en España.
Fotolibro Berlín, de Mario Bucovich, que se muestra en la exposición Sospechosos. Flâneur en Berlín.Sospechosos. Flâneur en Berlín, exposición que reúne a fotógrafos como Friedrich Seidenstücker, la pareja Sasha y Cami Stone, Seidenstücker (1882-1966), Peter Weller y Mario Bucovich.
La nota de El País se encuentra replicada en La Revista Rancho Las Voces .
Pulse el enlace para consultar la nota.
Este apunte sirve para comentar un momento de la historia de la fotografía en Alemania
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