L’invenzione del padre

Padre vecchio e malato padre forte e onnipotente  padre assente padre ritrovato padre spaventoso. Questi sono i padri di Lydia Goldblatt, Aneta Bartos, Diana Markosian, Amanda Tetrault. Consigliato caldamente vedere le serie intere al rispettivo link.

Lydia Goldblatt – La soglia

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Lydia Goldblatt, “Still Here” (2010-2013)

“I explore the cyclical scope of existence that sees nature’s fingers unpick our fragile yet insistent efforts to build, construct and create.

These images are from a series about my parents, focussing on my elderly father’s mortality, and stemming from a desire to address the inevitable changes wrought by his approaching death.

I am witnessing human fragility, the physical and psychological boundaries of a human essence. I am interested in the indefinable thresholds that mark out our individual existence, and in the subtle process of erasure that returns us to the state from which we emerge.

In making work about a personal experience of mortality, I am exploring the cyclical scope of existence that sees nature’s fingers unpick our fragile yet insistent efforts to build, construct and create.”

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Aneta Bartos – L’eroe

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Aneta Bartos, Dad (2014)

“Visiting him and being in his presence takes me back to my youth, to what felt like an endless stretch of days in a worry-free world anchored by my powerful and loving father. I reflect on how his commitment to education, fitness, organic food and simplicity of basic living has kept him so young and full of vitality. These images represent phantoms of the past, but are living and captured in the present. My father is steadfast and consistent, the embodiment of stability and strength.” (il resto dell’intervista su Huffington Post)

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Diana Markosian – La ricerca

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Diana Markosian, Inventing my father (2013-14)

“For most of my life, my father was nothing more than a cut out in our family album.

An empty hole.

(…) When I was a child, my father would visit my brother and me, floating in and out of our lives.

Today, the visitor is me.

The man standing across from me didn’t recognize me. I didn’t recognize him either.

I felt out of place.

A part of me wanted to get to know him.

We started to take photos of each other, the space between us, as a way of working through that void.

My father started to take pictures of me as well (…)

I keep looking for him.

I think I always will.”

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Amanda Tetrault – Il margine

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Amanda Tetrault, Phil and me (2004)

 

Daddy dearest: a letter from Amanda to her father

Dear Phil, Philop, Flip Flop, Daddy, I started taking photographs of you, and me with you, around eight years ago. I was 19 and had come back from a summer working in Maine. You probably don’t remember this, but that fall you were really ill. Crazier than I had seen you in years. You were drinking hard, smelling, wearing underwear on your head and spewing all kinds of nonsense. You didn’t believe you were ill, you weren’t taking your medication and there were very few lucid days.

Taking photographs of us was, and continued to be, the only way for me to stay sane or meet you at all when you were sick and drunk.

…..This is for you and me and for every mother, father, daughter, son, brother, sister, husband, wife that has ever had to live with or alongside mental illness.

I love you, Mandy xo

 

In precedenza abbiamo visto il padre di Annie Leibovitz e quello di Elinor Carucci

Annunci

Nero su nero

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nello slideshow foto di Annalisa Ceolin

Ho scoperto Annalisa Ceolin su Facebook, grazie ad un ritratto che aveva fatto ad un amico. Un ritratto molto contrastato, il volto immerso per buona parte in un’ombra densa che gli somigliava molto.

Quando mi appare una fotografia di Annalisa sulla home si aprono prospettive nuove, varchi di luce e di buio, angoli di strada da cui potrebbe sbucare all’improvviso la scarpa del Terzo Uomo (e il gatto che l’annusa), o uno dei mostri bergmaniani da Ora del lupo. 

Poi, seguendo il suo sguardo per quelle strade, si scoprono invece presenze timide, discrete, magari scostanti ma gentili. Si scopre, anche, leggendo i titoli delle serie, di trovarsi in una terra di mezzo tra cinema e letteratura.

Il nero non è forse così buio come lo si dipinge, e anche l’inferno può attendere.

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Annalisa Ceolin, dalla serie Heaven can wait

 

Fast Forward: Women in Photography – un simposio alla Tate Modern

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Qiana Mestrich, da The Mist in Mystic (2012)

Da Aunt Jemima, icona della pubblicità dei pancakes, alle cantanti ben pettinate sui vinili R&B e Soul degli anni Settanta, l’immagine delle donne nere è storicamente sempre stata controllata dall’alto. Una nuova generazione di artiste sta usando la fotografia per rivendicare i diritti sull’immagine delle donne nere, e visualizzare molteplici identità che neutralizzino la narrazione dominante e univoca del passato.

Di questo parlerà Qiana Mestrich nel simposio di due giorni Fast Forward: Women in Photography che si tiene in questo weekend alla Tate Modern. Ed è soltanto uno dei molti aspetti che verranno trattati. Gli altri potete leggerli qui.

Temi di indubbia importanza e relatrici di varie nazionalità. Nessuna italiana, tra parentesi.

Vale la pena di riflettere sul fatto che qui in Italia il parlare di sguardo femminile in fotografia, anche in maniera molto circostanziata come fatto poco tempo fa da Efrem Raimondi, provoca levate di scudi da ambo le parti e improvvise, insostenibili, teorizzazioni sull’uguaglianza assoluta dei sessi e dei generi.