Restore

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.

Su obra explora el espacio y el tiempo como conceptos que abarcan todo aquello que llamamos la realidad ​y se materializan en un proceso de experimentaciones abstractas del paisaje. Cortés realiza un acercamiento a un conocimiento directo de lo que nos rodea para desarticularlo ​en fragmentos de un espacio inmaterial. En su serie ​Aforismos V​isuales (2011 - 2017), la fotografía​, más que un instrumento mimético, es una herramienta análoga a la mirada con la que registra y construye una realidad alterna que pasa desapercibida a la vista y que sólo puede permanecer en la imagen. Al paso del tiempo, el proceso de su trabajo ha sido una depuración visual que consiste en quitar y quitar elementos primero en la arquitectura, en el cuerpo y en el paisaje; luego en las formas más mínimas del espacio. ​“Pienso el proceso fotográfico como la desmaterialización del espacio capturado que al ser materializarlo de nuevo en una imagen no regresa tal cual. Esa descomposición es algo nuevo que quizá aún no tiene nombre. El espacio real sólo se manifiesta por un instante, cuando pierde el referente de sí, antes de las connotaciones y las denotaciones”.

Su obra explora el espacio y el tiempo como conceptos que abarcan todo aquello que llamamos la realidad ​y se materializan en un proceso de experimentaciones abstractas del paisaje. Cortés realiza un acercamiento a un conocimiento directo de lo que nos rodea para desarticularlo ​en fragmentos de un espacio inmaterial. En su serie ​Aforismos V​isuales (2011 - 2017), la fotografía​, más que un instrumento mimético, es una herramienta análoga a la mirada con la que registra y construye una realidad alterna que pasa desapercibida a la vista y que sólo puede permanecer en la imagen. Al paso del tiempo, el proceso de su trabajo ha sido una depuración visual que consiste en quitar y quitar elementos primero en la arquitectura, en el cuerpo y en el paisaje; luego en las formas más mínimas del espacio. ​“Pienso el proceso fotográfico como la desmaterialización del espacio capturado que al ser materializarlo de nuevo en una imagen no regresa tal cual. Esa descomposición es algo nuevo que quizá aún no tiene nombre. El espacio real sólo se manifiesta por un instante, cuando pierde el referente de sí, antes de las connotaciones y las denotaciones”.

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.

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

“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

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.