La Quema

 

-La Quema-

🔥

Burning processes imply a transformation in the elements involved, a chemical reaction that starts from an initial state to a final state; I am interested in transitions, intermediate points in which territories, environments and bodies are blurred. Burning is a state of transition, a medium migration in which the video and the body form a composite particle with a  relative movement, divisible as well into its parts. The body has a movement from one point to another, two points in the geography of the route, mapping an event, the body is a support and also a way of documentation extended through the device. The reaction corresponds to a movement through layers of meaning, shaped by the planes that are exhibited through the screens. Coincidentally, after producing the projection and after viewing it, I find relationships with the colors of the Ukrainian flag, made up of the blue of the sky and the shades of the vegetation, adding signifiers linked to the processes of destruction, transformation and exploitation as a result of invasions of territories. The transit consequently ends with a perception of reality through a moving image.

-La Quema- 
🔥

Los procesos de quema implican una transformación en los elementos involucrados, una reacción química que parte de un estado inicial a otro final; me interesan las transiciones, los puntos intermedios en los cuales se desdibujan territorios, ambientes y cuerpos. La quema es una transición de estado, una migración de medios en el que el video y cuerpo forman una partícula compuesta que presenta un movimiento relativo, divisible en sus partes. El cuerpo tiene un movimiento de un punto a otro, dos puntos en la geografía del recorrido, mapeando un acontecimiento, el cuerpo es en sí mismo soporte y a su vez, un  medio de documentación extendido a través del dispositivo. Este reacción corresponde a un movimiento a través de capas de significación, conformadas por los planos que son exhibidos a través de las pantallas. Casualmente, después de realizar la proyección y tras su visualización, encuentro relaciones con los colores de la bandera de Ucrania, compuestos por el azul del cielo y las tonalidades de la vegetación, sumando significantes vinculados a los procesos de destrucción, transformación y explotación consecuencia de las invasiones a territorios. El tránsito consecuentemente finaliza con una percepción de la realidad a través de una imagen en movimiento. 

Falsas Polaroids

 

| False Polaroids |
MAx Provenzano
(solo show)
LARGO Café EstúdioLargo Residências
08102021

After 3 years living in Lisbon I finally present this personal project which is a partial display of my personal archive, a vision of my work through the polaroid format, false polaroids.

Polaroid photographs offer the possibility to produce an instantaneous recording with certain characteristics of this medium, such as:

- the square format,

- tones;

- reaction of the emulsion.

In terms of image production, this possibility of being able to develop a photo taken in just seconds was in the past, the closest aspect to what digital photography currently represents, differing from the photographic support involved. Nowadays, obtaining an image in real time has revolutionized the way we perceive the world, offering different possibilities of communication by technical images, thanks to the wide access to different photographic mediums, from the most complex cameras to the simplest mobile devices.When we watch a Polaroid, there is an implicit character linked to the immediacy of this medium. Actually, it is possible to find mechanisms that allow images to be produced on this medium, blurring the idea that a Polaroid was necessarily the product of a direct shot.

False Polaroids is the most recent exhibition of the artist MAx Provenzano, offering a display of his archive through photographs and compositions in Polaroids. In his research, the artist works with the relationships between his body and the different objects that he encounters on his way, producing images which combine the context and his personal life, worrying about the mechanisms of circulation and formulation of archives on digital media.

Images of actions for the camera and performances are, on this occasion, transferred to the Polaroid format. They are combined with objects or presented as photographs, establishingtensions over the technical origin of these images, are they photographs that were initially conceived as polaroids, or is it a possibility offered by the technologies of recreating imagesin classic formats and generating false expectations about this medium in specific? There is a need for the artist to work on processes that involve traditional elements as a channel for the activation of memory; and from his nostalgia, re-signify them incontemporaneity.