The trouble with photographing just about
anything at all in Spain is that no matter how original, how visually striking
or subtly thought-provoking the result may be, everyone will look at it and say
"Right, another picture of Spain." The country that has it
all -- light, color, contrast, and character pouring out of every human visage
-- turns out to be a deal breaker for
the photographer who reaches out too greedily to grasp it all. This is the
dilemma faced by Cristobal Hara, as a Spanish photographer who specializes in
Spanish subject matter. Many rate him as one of the best in the business, along with Cristina
García Rodero, though in recent years, she appears to have her viewfinder locked
onto the doings at the Burning Man whoopee fest.
Hara's end-run around the intractable problem
involves making or allowing his pictures of Spanish reality seem as unreal as
possible. The viewer's visual processing apparatus is obliged to churn out
possible answers to the question "Wait a minute, is what I'm seeing here
some kind of put-on?" and thus overrides the lower brain functions that would
otherwise be classifying and filing the image under "Spanish".
It probably helps that Hara is himself a
Spaniard, allowing his human subjects to be
somewhat less self-conscious when he aims his lens at them. Deep Spain,
with its rural backwaters and dying villages that yield up their secrets to him, is
not an easy place or state of mind for outsiders to penetrate. Anyway, Hara
insists he is not particularly interested in the people he photographs, or in
any of his other subjects, to get right down to cases. The only thing that
concerns him is the photographic language in which the subject can be expressed
Hara's peculiar dialect relies on mystification
and perversity. Mystification, in that no matter what the subject may be --
often some combination of people and animals, singly, one-on-one, or in
groups, whitewashed walls and building
facades, the whistle stop rural bullfight circuit, stone foundations of
buildings that long since crumbled away - he never really wants you to know
what is going on. Here's a man sound asleep in bed with a sheep. A joke, right?
Wait, it's obviously not posed or set up. Is there a backstory that makes this
intelligible? If there is, Hara's not letting on.
Perversity: Hara is notorious for making every
technical blunder in the book and appropriating them all for his signature
style. An impenetrable shadow envelops his subject, a blur of sudden movement
streaks into view or a huge extraneous object intrudes without warning into the
frame, not only wrecking the composition (assuming there was one in the first
place) but blotting out the subject as well. No big deal -- it merely add a piquant note of immediacy, evoking the
unique moment when the photographer has to act. His cavalier take on rule-breaking
is doubtless one reason why they love his stuff in Germany, where several
collections have appeared and more are on the way.
A word on the venue The Sala del Canal de
Isabel II is actually a turn-of-the-century water tower clad in neo-mudejar brickwork and one of
Madrid's seldom examined examples of industrial architecture. Decades ago, the water
utility people had the inspired notion of putting layers of scaffolding inside
the obsolete, shuttlecock-shaped structure and have it serve as a year-round
venue for photography-only exhibits, in which you take an elevator up to the
top and stroll down, Guggenheim style, to see the pictures. Many of their shows
have been world-class and not enough people who come to Madrid know about this
place.
No hay comentarios:
Publicar un comentario