Un autore da scoprire: Nacho Lopez
“La fotografia è un intrigante documento visuale”, Boris Kossoy.
Il Messico e la fotografia. Un rapporto intenso che ha generato frutti delicious known around the world: Manuel Alvarez Bravo and his wife Lola, the prolonged stay in Mexico City by Henri Cartier-Bresson and Edward Weston and Tina Modotti, who, bound by an intense love affair in a country that arrived after the Revolution ended in 1917, knew a great cultural and political ferment.
Ignacio López Bocanegra, known as Nacho López (Tampico, Tamaulipas 1923 - Ciudad de México, 1986) and provocateur filmmaker in the history of a photographic reality, which always took its cue from the historical and political context of the time, worked hard throughout the his life coming to overcome the negative thirty-five thousand and three thousand slides products. Very little is known of the huge store.
not only photographer but also a filmmaker, photojournalist, documentary maker, lecturer and critic. The bulk of his photographic work is concentrated in the fifties, but his prolific output is intense from the forties until the mid-eighties. The last five years of his life he hoped marked by a particular stage, not much studied by biographers, historians, but it turns out to be very important for the history of photography: the role of Lopez, in fact, became influential photographers for all infant groups, who organize to define their technical ideas and concepts. As a critic
Lopez took exception to some schools of thought predominate at the time, in particular was opposed to the Primer Coloquio Latinoamericano de photo because he claimed that it had emerged from ideas and intentions that were contrary to their ideological principles. Back in 1979, in a long article published on unomàsuno entitled "cuestión to Consejo Mexicano de Fotografia" stated: "If the photos exhibited in a museistico are not supported by a critical stance and strong opposition in his aesthetic language, run the risk of becoming objects of folk subculture typical tourist. " And again: "The beauty is certainly not that of a landscape, folklore, dance, architecture, etc. of a nude. [...] Talk about beauty and mystify reality. E 'betray what is obvious: the misery of our people clashes with the photographer's aesthetic beauty. [...] The picture is basically a means of expression as documented in its entirety before it is aesthetic and that the content becomes work of art only if it exhibits the timeless values \u200b\u200bshared by most people because the pure aesthetic game for me is sterile operation. "
Through a personal vision of the city and the time he lived, Nacho López was active witness the transformation of a society in constant change. Filtered through his lens, the light came to life by offering not just images but true stories. And he did it with eyes at times surreal, others hyper-realistic.
The result of this work was an archive of images in which there is a Mexico City ghostly, gray, bright, joyous and funny, famous in his anonymity, divided into quarters and streets, partying, libidinous, hardworking, brave, lazy, ritual, anarchic. The adjectives are linked, but touch only the world of Nacho López. Carlos Monsiváis.
The enormous aesthetic and content of the work of Lopez is an important legacy for the photography world, to look with full compliance not only through his shots as well, if not more, to its ideological principles with respect to tell through pictures.
Article previously published in the periodical national information Prisma News
[ALX COGHE PHOTOGRAPHER By photographers.it]
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