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Catalogo de la exposición.

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Henrieke I. StreckerAlemaniawww.pinhole-photography.<strong>de</strong>Permaneciendo en un lugar, emergiendo <strong>de</strong> <strong>la</strong> locura <strong>de</strong> <strong>la</strong> prisa diaria,sin posibilidad ni esperanza <strong>de</strong> llegar, permite que una percepción <strong>de</strong> lo queya ha ocurrido surja y vuelva a surgir <strong>de</strong> nuevo. Emanarán <strong>de</strong> esta prisa cuentos,gestos amenazados <strong>de</strong> hundirse en esta rapi<strong>de</strong>z, casi cubiertos por <strong>la</strong> misma…Quiero dar un re<strong>la</strong>to <strong>de</strong> estos pequeños movimientos, atmósferas, no sóloun momento, “pintando un cuadro realista”, según un informe, pero <strong>la</strong>experiencia <strong>de</strong> <strong>la</strong> situación, en <strong>la</strong> que <strong>la</strong> toma se malogró.Especialmente en <strong>la</strong> serie <strong>de</strong> retratos pue<strong>de</strong>s observar lo que ocurre,cuando <strong>la</strong> gente es forzada a esperar, qué huel<strong>la</strong>s quedan atrás en este período<strong>de</strong> tiempo. Mientras nuestros antepasados –hace más <strong>de</strong> cien años- se sentaronrígidamente, apareciendo <strong>de</strong> tal manera, preñados <strong>de</strong> significado, <strong>de</strong><strong>la</strong>nte <strong>de</strong><strong>la</strong> cámara, encerrados en horrorosas maquinarias para evitar cualquiermovimiento durante esas <strong>la</strong>rgas exposiciones, tomo ventaja <strong>de</strong> este‘acontecimiento’ para dar con estos leves gestos, para pintar lo que suce<strong>de</strong><strong>de</strong>trás <strong>de</strong> <strong>la</strong>s poses obvias – algo <strong>de</strong> lo que somos conscientes-.Remaining at a p<strong>la</strong>ce, emerging from the usual everydaymad rush, which has no chance, no hope of arrival, permitsa perception of what has already happened to come up onceand again. Tales will step out of this rush, gestures threatenedto be drowned by this quickness, almost covered by it.I want to give an account of these small movements,atmospheres, not an iso<strong>la</strong>ted moment, "painting a realisticpicture", according to a report, but the experience of thesituation, in which the taking was un<strong>de</strong>rgone.Especially in the series of portraits you can observe whatis going on, when people are forced to wait, which traces areleft behind in this period of time. While our forefathers - morethan a hundred years ago - sat stiffly, appearing thereforepregnant with meaning, in front of the camera, hemmed indreadful machineries in or<strong>de</strong>r to avoid any move during theselong exposures, I take advantage of this factum to track downthese slight gestures, to paint the happenings behind the obviousposes - something we hardly become aware of.Henrieke I. Streckers/t

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