OVERVIEWMAR 08 to MAY 01Solo Exhibition
- Solo Exhibition
Dates and Opening hoursMAR 08 to MAY 01, 2013
Mon - Fri: 10:30h - 19h. Saturdays and all other times, call for an appointment
InformationBlow Up Blow Up
Using stills duplicated from a copy of the movie in 35mm, Fontcuberta continually expands a few negatives to a point beyond where Thomas, the protagonist, stops. Rather than revealing the presence of a corpse in a park, Fontcuberta's gesture points to the corpse of representation itself: an inert body in which the tensions between event and representation, documentary and fiction, experience and image are shown with a radical economy of means dictated by the procedure.
The paradox is that the monumental enlargements surpass the threshold of intelligibility, losing any reference to the original scenes from the movie. Yet, as a result, they allow the intrinsic information provided by the film itself (the grain, the scratches, the unrecognizable forms of white and black spots …) to emerge. Fontcuberta thus brings us to the most basic level of the medium and transports us, traversing all possible meanings, to its most intimate nature. It is as if we were trying to investigate what images are made from.
This series is an ironic work, parodying a certain situation, in which the artist disguises himself as an Islamic terrorist, with a beard and Arab attire. The artist manipulates videos and photographs from the Al Yazira channel, placing himself in them and uniting his face with the body of Bin Laden. While the voice of the terrorist is heard and Arab subtitles appear, the figure actually recites the pirate song, by Espronceda. In the words of the artist: "I play with the idea that all these terrorists were actually just actors hired by intelligence services to represent villains. This is an idea that has occurred to a lot of people. It simply seems impossible that in the cave in some lost corner of Afghanistan, these home videos, with such a domestic structure, are actually real. It seems unfathomable that for the same people who had the technological capacity to orchestrate 9-11, there is not the sophistication and money available to record a video the way god intended."
This project is a parody, an action of informative intoxication that calls attention to the dangers of credulity. Here, the artist becomes a journalist in order to tell the supposed history of the first initiative of the Foundation Sputnik (organization created for the rehabilitation of historical memory and the dissemination of the Soviet space program): the tragedy of the astronaut Ivan Istochnikov (the closest Russian translation of Joan Fontcuberta), lost in space under strange circumstances. In order to give the story authenticity, the artist incorporates a large number of historical documents.
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