ARTISTA COLABORADOR

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see english below

Como dabamos conta no caderno de bitácora da expedición 17, perdemos un dos móbiles que levabamos, mais como ía metido nunha bolsa estanca, a persoa que o atopou puido seguir realizando fotografías, que inmediatamente subían, sen a súa intervención, a Dropbox, e que polo tanto nós recibiamos.

O novo propietario fíxonos participes da súa vida familiar, o que non nos interesaba o máis mínimo, pero no medio das fotografías que recibimos, había imaxes nas que a proa da piragua se transformaba nuns pés, que, tamén, facían explicita a súa presenza nun territorio. Tomámolas como un sinal de agradecemento por telo dotado dun móbil con cámara, e decidimos incluílas no proxecto, non podía ser doutro xeito.

O que non sabemos é se as uñas coloreadas foron pintadas como parte dunha escenificación fotográfica -nese caso si se diferenciarían das nosas imaxes-, ou simplemente que é máis mirado cos seus pés, que nós ca piragua, a que só llle demos batacazos contra rochas, pedras e petóns, nestes case 1000 km que percorremos, a bordo dela, neste proxecto

O cuestionamento do verismo fotográfico, que supuxo a posmodernidade por unha banda e a imaxe númerica por outra, fará que moitos pensen que   é ficción, pero unha vez máis podemos comprobar que se cumpre o tópico de que a realidade supera a ficción.

 

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COLLABORATIVE ARTIST

Throughout the expedition 17, we lost one of the mobiles we were carrying. But since it was inside a dry bag, the person who found it could keep up taking photos which were immediately uploaded to dropbox without his intervention and were received by us as a result.

The new owner made us part of his family life, in which we were not interested at all, but in the middle of the photos we received, there were images in which the prow of the canoe was turned into a pair of feet, which also made their presence in the the territory clear. We took them as a sign of gratitude for having provided him with a camera phone, and we decided to include them in the project. It couldn’t be any other way.

What we do not know is if his colourful nails were polished as part of a photographic dramatization, in that case they would be different from our images, or he might be more careful with his feet than we are with our canoe which has crashed with rocks, stones and petóns* throughout these almost 1000 km we have covered aboard it on this project.

The questioning of the photographic verism which was brought about with postmodernism on the one hand and the numeric image on the other, will make many think that it is fiction, but we can prove, once again, that truth is stranger than fiction.

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