Restore

La fotografía de Miño se construye forma onírica. Inducen a soñar con la arquitectura y los espacios que habitamos a partir de imágenes que, en todo momento, están a punto de convertirse en otra cosa. A través de veladuras y transparencias, se revelan para nosotros en una suerte de visión endoscópica. Las construcciones se sondean como las cavidades ocultas de un cuerpo, del que emerge un mundo íntimo: el paisaje interior de las edificaciones. Se trata de visiones que corroen el sentido común, también denuncian aquello que reprimen las estructuras formales del espacio: la alteridad en la identidad, lo espectral en lo sólido, el vacío en lo lleno, lo abstracto que se esconde en lo muy concreto. Al prescindir de toda aparición de la figura humana, queda al desnudo la propia morfología del espacio arquitectónico. La sensualidad de la forma se refuerza una vez que se ha desmaterializado todo lo que la hizo posible. 

Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

“After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

El Cimarrón y su Fandango (2014). As an allegory about the Afro-IndigenousMulato communities in Mexico and its members’ identities journey through the postcolonialism, this series proofs that their past is not merely a description; it is a definition of their present that remains unstable and ambiguous. During Colonia Española a Cimarrón was a fugitive black slave who lived a free life in the isolated corners of society. The fandango is a popular dance characterized by passionate movement. In Mexico it also means rumba, party, feast. Until 1520, the Americas population was comprised by about 1% of African community growing in two centuries to 10%, exceeding the number of the Spaniards inhabitants in current southern USA, Mexico & Central America, which conformed La Nueva España, founded on the Indigenous original civilizations territories. The lack of awareness surrounding the fact that a black community inhabits Mexico amongst indigenous, mestizo and creole, has led to all kinds of debates on sociopolitical and identity-related issues, coalescing in the current struggle for greater visibility and recognition. This series is a political and aesthetically gaze of current times of their identity, a territory celebration and a homage to the America’s Afro root in our identities.

El Cimarrón y su Fandango (2014). As an allegory about the Afro-IndigenousMulato communities in Mexico and its members’ identities journey through the postcolonialism, this series proofs that their past is not merely a description; it is a definition of their present that remains unstable and ambiguous. During Colonia Española a Cimarrón was a fugitive black slave who lived a free life in the isolated corners of society. The fandango is a popular dance characterized by passionate movement. In Mexico it also means rumba, party, feast. Until 1520, the Americas population was comprised by about 1% of African community growing in two centuries to 10%, exceeding the number of the Spaniards inhabitants in current southern USA, Mexico & Central America, which conformed La Nueva España, founded on the Indigenous original civilizations territories. The lack of awareness surrounding the fact that a black community inhabits Mexico amongst indigenous, mestizo and creole, has led to all kinds of debates on sociopolitical and identity-related issues, coalescing in the current struggle for greater visibility and recognition. This series is a political and aesthetically gaze of current times of their identity, a territory celebration and a homage to the America’s Afro root in our identities.

Her oeuvre explores space and time as concepts covering what we call ​reality, ​becoming a process of abstract landscape experimentations. Cortés makes an approach to a direct knowledge of our surroundings, to disarticulate them in fragments, as elements of a immaterial space. In her series ​Aforismos Visuales ​(2011 - 2017), ​the photography, instead or being a mimetic instrument, is more a glance’s analog tool to register and construct an alternate reality which disappears to the view and can only stay in the image. Over time, her work has become a visual depuration to remove and remove elements; at first on the architecture, then on the body and landscape, and finally in the minimalists forms of the space. “I think on the photographic process as the dematerialization of the captured space, which once materialized again in a new image, nevers came back the same. This very decomposition is something new that maybe does not have a name yet. The real space only manifest itself for an instant, when it loses its referent, before the connotations and the denotations.”

Her oeuvre explores space and time as concepts covering what we call ​reality, ​becoming a process of abstract landscape experimentations. Cortés makes an approach to a direct knowledge of our surroundings, to disarticulate them in fragments, as elements of a immaterial space. In her series ​Aforismos Visuales ​(2011 - 2017), ​the photography, instead or being a mimetic instrument, is more a glance’s analog tool to register and construct an alternate reality which disappears to the view and can only stay in the image. Over time, her work has become a visual depuration to remove and remove elements; at first on the architecture, then on the body and landscape, and finally in the minimalists forms of the space. “I think on the photographic process as the dematerialization of the captured space, which once materialized again in a new image, nevers came back the same. This very decomposition is something new that maybe does not have a name yet. The real space only manifest itself for an instant, when it loses its referent, before the connotations and the denotations.”

Endgame (2014) Su título hace eco a la obra de teatro de Samuel Beckett: Final de Partida (escrita en 1957), donde a pesar de rehusarse a contar algo, la obra continua. El objeto nos remonta al universo festivo de las discotecas, esos mágicos sitios nocturnos (¡que son bastante macabros durante el día!). Primordialmente un soporte para la experimentación y prueba cierta materialidad, a imagen condensa literalmente distintos significados en uno, mediante una doble exposición invertida. Un pretexto para interpretar, contemplar y relacionar, pero prestos, antes de que la fiesta termine y fenezca.