{"id":1900,"date":"2022-06-21T10:48:10","date_gmt":"2022-06-21T15:48:10","guid":{"rendered":"https:\/\/vistprojects.com\/en\/?p=1900"},"modified":"2022-06-21T10:49:12","modified_gmt":"2022-06-21T15:49:12","slug":"martin-bollati-behind-the-mirage","status":"publish","type":"post","link":"https:\/\/vistprojects.com\/en\/martin-bollati-behind-the-mirage\/","title":{"rendered":"Martin Bollati behind the mirage"},"content":{"rendered":"

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custom_padding=”50px||50px||false|false” hover_enabled=”0″ locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Mart\u00edn Bollati<\/strong> says he fell in love with photography when he discovered that it was much faster in producing images than painting. He did part of his studies in the arts, taking several years with a particular focus on aesthetics and art theory. He did not finish and began studying photography.<\/p>\n

In 2014 he received a scholarship to do a master’s in Conceptual Photography at Efti. There, in Spain, he continued not only taking photos but also writing about photography, particularly about photobooks. Mart\u00edn says that he lives between being in love and disenchanted with photography; that he is bored by photographers, especially those who think they are inventing something new, and it turns out that there are artistic traditions that precede them.<\/p>\n

In his photographic work and theoretical reflection, he seeks critical escape, plays with the ideas of truth, proposes fiction as a flag, and proposes the search for mirages in which desire and need are the motives of creation. He directs Sed<\/strong>, a publishing house that looks for works between two extremes: the critical escape of photography or the hyper-literarily and the accumulation of images. He is also interested in visual enigmas and seeing what lies behind the mirages.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila-regular 10-90″ _builder_version=”4.15″ _module_preset=”default” background_color=”RGBA(0,0,0,0)” width=”100%” max_width=”1920px” custom_margin=”0px||0px||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”0px|50px|0px|50px|false|false” custom_padding_tablet=”0px|25px|0px|25px|false|false” custom_padding_phone=”0px|20px|0px|20px|false|false” border_radii=”off||||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.15″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||0px||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|desktop” custom_css_main_element=”width:10%!important;” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” custom_css_main_element=”width:90%!important;” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}” custom_css_main_element_last_edited=”on|tablet” custom_css_main_element_tablet=”width:100%!important;” custom_css_main_element_phone=”width:100%!important;”][et_pb_code admin_label=”Imagen Esp” module_class=”vst-cnt-img” _builder_version=”4.15″ _module_preset=”default” global_colors_info=”{}”]\"\"[\/et_pb_code][et_pb_text admin_label=”Pie de foto” _builder_version=”4.15″ _module_preset=”default” text_text_color=”#6e6e6e” text_font_size=”13px” text_letter_spacing=”0.16px” text_orientation=”right” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”10px|0px|15px|0px|false|false” custom_padding_tablet=”||10px||false|false” custom_padding_phone=”|20px|5px||false|false” custom_padding_last_edited=”on|desktop” custom_css_main_element=”font-weight:400;” global_colors_info=”{}”]Ruinas sin t\u00edtulo – Mart\u00edn Bollati[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila-regular” _builder_version=”4.15″ _module_preset=”default” background_color=”RGBA(0,0,0,0)” width=”100%” max_width=”1920px” custom_margin=”0px||0px||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”0px|50px|60px|50px|false|false” custom_padding_tablet=”0px|25px|0px|25px|false|false” custom_padding_phone=”0px|20px|0px|20px|false|false” border_radii=”off||||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.15″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||0px||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_text module_class=”vst-p” _builder_version=”4.15.1″ _module_preset=”default” custom_padding=”50px||||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

There is an interest in understanding History in your photographic work. Could you talk about it?<\/strong><\/p>\n

I’m from the Indiana Jones and Looking for Wally generation. My visual training as a child connects to the idea that I will find something in the images. We were formed by looking at these big images, and there had to be Wally somewhere. With Indiana Jones, we learned that there are always enigmas. From that starting point, I am very interested in the relationship between images and archeology or that very ancient past, full of puzzles, of images that do not make sense at all or do not make sense at first glance and that we have to decipher them. Hence my visual relationship with the past.<\/p>\n

Concerning the idea of History, I also come from a very disobedient tradition in terms of structures. I am interested in playing against specific hegemonic discourse models, and I think History is the greatest. I am interested in that History statement as a big thing, as an archetypal figure. Because also, the negative side is the lowercase histories, those that are absent, and the multiplication of possible stories.<\/p>\n

In the text accompanying your book La forma bruta<\/em>, you refer to Aby Warburg and say that “historical discourse is never born, can always begin again.” How does this relate to the idea of ruin?<\/strong><\/p>\n

There is a word that is surfacing a lot in my artistic production. In my notes, it was a word that accompanied me during the pandemic because I had it here in front of me, and it is the idea of continuity, continuity as a gesture. Some people call it eternal return, mythological thought, continuity, or, as they say in Buddhism, nothingness. I am interested in this constant becoming.<\/p>\n

Returning to the reference, History in capital letters tries to trace a point of origin and from there a straight line through progress, as an advance, that is to say, there is one thing above the other, it is surpassed. Antagonistic to that model are the models of rhizomatic, mythological, continuous, and hyperlinked perception. Something that does not begin does not end but is continuously circulating.<\/p>\n

The ruins, in that sense, have something exciting. Within them, there is the inscribed presence of civilizations with all their cultural load, with all their visual symbolic codes. At the same time, these structures are carried away by the burden of time, eroded, and it has entered into a new model of reading, ours. The idea of ruin is modern. There are cultures where this notion does not exist.<\/p>\n

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In the text of the book Esto no es una ruina,<\/em> there are four sentences at the end. Let’s discuss them and start with the first two: “This is not a ruin. The motif is not the subject.”<\/strong><\/p>\n

That comes from a text written by Manuel Antonio Fernandez, the curator of my last exhibition, which is called Mirar la destrucci\u00f3n como si fuese m\u00e1quina. He is also an artist; he wrote a text from some ideas and conversations we had, and the title mocks Magritte’s “This is not a pipe.” There is something that I often discuss with Manuel: we identified that in contemporary photography, there is a big problem: photographers, unlike painters, do not know how to separate the concept of subject and motif.<\/p>\n

Photography is so literal in its production that there is great confusion. Photographers think what they are photographing is what they are showing. Painting has no problem saying that its motif is a flower arrangement and the subject is death. In the work’s title, there is something of a mockery of this system of literalism: I show you a ruin, but I tell you that it is not a ruin.<\/p>\n

For me, there are two problems with photography. The first is that there is no division between subject and motif; the second is that photographers do not read, so there is no link with other disciplines.<\/p>\n

You said at the beginning that you come from a generation that believes image will give them something, that they will find something in it. How does this work in the case of Ruinas?<\/strong><\/p>\n

On several levels, first, there is something that happens in Ruinas in terms of the performance of the images. In many of them, the threshold of visibility is shallow; there is little information; the reference motif is also unclear. So, the observer must be active to build the image more from the inside than from what the image has. From that perspective, the project is a scattering of information that seeks an active reader who works to join the dots. Secondly, I am very interested in constructing images that, like photographs, one doesn’t understand where they come from or what they are. I like to build these little enigmatic icons.<\/p>\n

Part of the project is a book published by Sed, my publishing house. Everyone can download the book for free in pdf. There is a literal construction of a character in the first person who enters a temple and discovers things in the book. In the center, he discovers some writings that he translates, and in them, he finds a myth that contains many allegorical and diffuse clues, but at the same time, very referential. Reading that myth activates a question that makes something happen in the book’s specific space, which is the center of the temple. I thought of it as the center of the photographic camera, that place in the photographic apparatus where images are produced and to which we do not have access.<\/p>\n

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The following sentence is “Photography lies.”<\/strong><\/p>\n

Photography ontologically is a lie. One of the first photographic self-portraits is that of Bayard, a madman who sends his dead photographs with a text claiming. Photography is born with a first lie that says its origin is in Europe. There are many accumulated lies.<\/p>\n

Now I am working on a text around the concept of the uncanny valley, an aesthetic theory of a Japanese philosopher used today powerfully for two developments. One is robotics and digital graphic arts, Pixar type. This theory speaks of a threshold of empathy, in which we have more empathy as something becomes more like a human being. There is a threshold that is the uncanny valley. The graph goes like this: empathy grows as something becomes more similar to a human being. Still, there is a moment when that graph is at 90% similarity where it drops radically, and a small valley forms, then it goes back up to 100% when it is a human being.<\/p>\n

I’m working around that idea, bringing it into photography, how these images look like human beings, but they’re not. They look like reality, but it’s not. However, it is a birth contract; we must believe in something we know it is not. At first, I struggled with that idea because photography lies, and some people say it does not. Later I realized that this contradiction is constant. It is neither the lie nor the truth. That dispute is the space for me where there is a critical interest in photography.<\/p>\n

Perhaps if we accepted it or abandoned the preoccupation with truth, photography could experience liberation.<\/strong><\/p>\n

I think it will liberate the development of the photographic image. We are close to living a revolution with photography, and I hope it happens soon. I think it will happen with the development of neural systems and artificial intelligence that come to build photographic images. Algorithms and programs are being fed by photographs and have the ability to produce things that look like photographs.<\/p>\n

In the years that follow, with more profound developments, we’re going to start dispensing with the need for photography or the camera as the only thing that can produce photographs. And that may make a liberation for photography similar to the release that painting had with photography.<\/p>\n

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global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_text module_class=”vst-p” _builder_version=”4.15.1″ _module_preset=”default” custom_padding=”50px||||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

The last sentence: “The only truth is fiction.”<\/span><\/strong><\/p>\n

In recent years there was a not-so-good idea about the relationship between photography and fiction. People assumed fiction is doing\u00a0<\/span>stage photograph<\/span><\/em>y, building scenarios and things, and photographing them. I try to inscribe myself more to the idea of the political capabilities of fiction. If we cannot imagine a new world, how will we change it? It is radical science fiction, imagining possible worlds, even the most distant ones. It is a political exercise to bring lessons and project scenarios that teach us things for daily life.\u00a0<\/span><\/p>\n

An excellent example of how to talk about concrete things is Federico Estol’s work\u00a0<\/span>H\u00e9roes del brillo<\/span><\/em>. His work is a perfect example of the use of the fictional capacities of photography to build a framework that has to do politically with regional problems and that makes from the grassroots, from the land.<\/span><\/p>\n

 <\/p>\n

Finally, could you talk a little about Sed, your publishing house? What do you look for in it?<\/span><\/strong><\/p>\n

As a publisher, I seek two extremes: those who seek to escape from photography or those that don’t want to hide the obvious, the hyperliteral.<\/span><\/p>\n

In the manifesto, I say that I am not interested in photography’s relationship with the mirror, but with the mirage, with the idea of that image produced by necessity and desire. It is the image of a man or a woman walking through the desert, thirsty after several days and faced with the need and want to drink water, seeing an oasis, seeing an image that does not exist. I am more interested in the photography we produce out of necessity and desire and not so much because we seek to reflect on ourselves.<\/span><\/p>\n

I have a collection called Enigma. I am working specifically with projects that seek to disobey the programs of the devices and produce visual enigmas, a kind of visual puzzle without the reference image to assemble. Then I have another line that interests me more and more and, in fact, this year, two or three books will come out called\u00a0<\/span>Detr\u00e1s del espejismo\u00a0<\/span><\/em>(Behind the Mirage), a little bit in play with Alicia Through the Looking Glass. It is a line that seeks from the text to try to think about our relationship with photography and photography books<\/span>.<\/p>\n

 <\/p>\n

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\n\t\n\t\n\t\n\t<\/svg><\/a>\n\t\n\t\n\t\n\t\n\t<\/svg><\/a>\n\t\n\t\n\t\n\t\t\n\t\t\n\t<\/g>\n\t<\/svg><\/a>Mart\u00edn Bollati says he fell in love with photography when he discovered that it was much faster in producing images than painting. He did part of his studies in the arts, taking several years with a particular focus on aesthetics and art theory. He did not finish and began studying photography. 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custom_padding_phone=\"40px|0px||0px|false|false\" custom_padding_last_edited=\"on|tablet\" global_colors_info=\"{}\"]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF90aXRsZSIsInNldHRpbmdzIjp7ImJlZm9yZSI6IjxoMT4iLCJhZnRlciI6IjwvaDE+In19@[\/et_pb_text][et_pb_text _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||50px||false|false\" locked=\"off\" global_colors_info=\"{}\"]\n\nMart\u00edn Bollati dice que se enamor\u00f3 de la fotograf\u00eda cuando descubri\u00f3 que era mucho m\u00e1s r\u00e1pida para producir im\u00e1genes que la pintura. Hizo parte de sus estudios en artes, curs\u00f3 varios a\u00f1os con un enfoque particular en la est\u00e9tica y la teor\u00eda del arte. No termin\u00f3 y empez\u00f3 a estudiar fotograf\u00eda.<\/span>\n\nEn el 2014 recibi\u00f3 una beca para hacer la Maestr\u00eda en Fotograf\u00eda conceptual en Efti. All\u00e1, en Espa\u00f1a, continu\u00f3 no solo haciendo fotos sino tambi\u00e9n escribiendo sobre fotograf\u00eda y, en especial, sobre fotolibros. Mart\u00edn dice que vive entre enamorado y desencantado de la fotograf\u00eda; que le aburren los fot\u00f3grafos, sobre todo aquellos que creen que est\u00e1n inventando algo nuevo y resulta que hay tradiciones art\u00edsticas que los preceden. <\/span>\n\nEn su obra fotogr\u00e1fica y de reflexi\u00f3n te\u00f3rica busca la fuga cr\u00edtica, juega con las ideas de verdad, propone la ficci\u00f3n como bandera y plantea la b\u00fasqueda de espejismos en los que el deseo y la necesidad son m\u00f3viles de creaci\u00f3n. Dirige Sed, una editorial que busca trabajos que jueguen entre dos extremos: o la fuga cr\u00edtica de la fotograf\u00eda o la hiperliterarlidad y la acumulaci\u00f3n de im\u00e1genes. Le interesan tambi\u00e9n  los enigmas visuales y ver qu\u00e9 hay detr\u00e1s de los espejismos.<\/span>\n\n \n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular 10-90\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"width:10%!important;\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"width:90%!important;\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" custom_css_main_element_last_edited=\"on|tablet\" custom_css_main_element_tablet=\"width:100%!important;\" custom_css_main_element_phone=\"width:100%!important;\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"14423\"][\/et_pb_code][et_pb_text admin_label=\"Pie de foto\" _builder_version=\"4.15\" _module_preset=\"default\" text_text_color=\"#6e6e6e\" text_font_size=\"13px\" text_letter_spacing=\"0.16px\" text_orientation=\"right\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"10px|0px|15px|0px|false|false\" custom_padding_tablet=\"||10px||false|false\" custom_padding_phone=\"|20px|5px||false|false\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"font-weight:400;\" global_colors_info=\"{}\"]\n\nRuinas sin t\u00edtulo - Mart\u00edn Bollati\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\"]\n\n En tu trabajo fotogr\u00e1fico hay un inter\u00e9s por entender por la Historia, as\u00ed con may\u00fascula. \u00bfPodr\u00edas hablar un poco sobre ello?<\/b>\n\nYo soy de la generaci\u00f3n Indiana Jones y Buscando a Wally, mi formaci\u00f3n visual de peque\u00f1o est\u00e1 muy vinculada a esa idea de que voy a encontrar algo en las im\u00e1genes. Nosotros nos formamos mirando estas grandes im\u00e1genes y ten\u00eda que estar Wally en alg\u00fan lugar. Con Indiana Jones aprendimos que siempre hay enigmas. Desde ese punto de partida me interesa mucho la relaci\u00f3n entre las im\u00e1genes y la arqueolog\u00eda o ese pasado muy antiguo, lleno de enigmas, de im\u00e1genes que no tienen sentido del todo o no tienen un sentido a primera vista y que nos toca descifrarlas. Desde ah\u00ed mi relaci\u00f3n visual con el pasado.<\/span>\n\nCon respecto a la idea de Historia con may\u00fascula vengo tambi\u00e9n de una tradici\u00f3n muy desobediente en t\u00e9rminos de estructuras. Me interesa jugar en contra de ciertos modelos hegem\u00f3nicos de discurso, en este caso la Historia siendo, desde mi punto de vista, el m\u00e1s grande de todos. Me interesa ese enunciado de la Historia como una cosa grande, como una figura arquet\u00edpica. Porque tambi\u00e9n el lado antag\u00f3nico son las historias en min\u00fascula, las que est\u00e1n ausentes, la multiplicaci\u00f3n de historias posibles.<\/span>\n\n<\/span>\n\nEn el texto que acompa\u00f1a tu libro <\/b>La forma bruta <\/i><\/b> hay una parte donde haces referencia a Aby Warburg y dices que \u201cel discurso hist\u00f3rico nunca nace, que siempre puede comenzar de nuevo\u201d. \u00bfC\u00f3mo se relaciona esto con la idea de la ruina?<\/b>\n\nHay una palabra que est\u00e1 aflorando mucho en mi producci\u00f3n art\u00edstica, en mis notas, fue una palabra que me acompa\u00f1\u00f3 durante toda la pandemia porque la ten\u00eda ac\u00e1 adelante y que es la idea de continuidad, la continuidad como gesto. Depende de la parada filos\u00f3fica, hay gente que le llama eterno retorno, pensamiento mitol\u00f3gico, continuo o, como le dicen en el budismo, la nada. A m\u00ed me interesa ese devenir constante.<\/span>\n\nVolviendo a la referencia,  la Historia en may\u00fascula intenta trazar un punto de origen y a partir de ah\u00ed una l\u00ednea recta que produce el progreso, como un avance es decir, hay una cosa arriba de la otra, se va superando.  Antag\u00f3nico a ese modelo son los modelos de percepci\u00f3n rizom\u00e1tica, mitol\u00f3gica, continua, hipervincular\u2026 digo cosas que no empiezan, que no terminan, sino que est\u00e1n todo el tiempo circulando.<\/span>\n\nLas ruinas, en ese sentido, tienen algo muy interesante y es que en ellas est\u00e1 la presencia inscripta de civilizaciones con toda su carga cultural, con todos sus c\u00f3digos simb\u00f3licos visuales. A su vez, esas estructuras la carga del tiempo se las lleva, las erosiona y entran en un nuevo modelo de lectura que es el nuestro. De hecho, la idea de ruina es moderna. Hay culturas donde esa noci\u00f3n no existe. <\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_2,1_2\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila 50-50\" module_class=\"vst-cnt-img-x2\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"|25px||25px|false|false\" custom_padding_phone=\"|20px||20px|false|false\" collapsed=\"off\" global_colors_info=\"{}\"][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|10px|0px|0px|false|false\" custom_padding_tablet=\"|5px|||false|false\" custom_padding_phone=\"|0px|||false|false\" custom_padding_last_edited=\"on|phone\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" custom_css_main_element_last_edited=\"on|desktop\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"14433\"][\/et_pb_code][\/et_pb_column][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|10px|false|false\" custom_padding_tablet=\"|||5px|false|false\" custom_padding_phone=\"|||0px|false|false\" custom_padding_last_edited=\"on|tablet\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"14434\"][\/et_pb_code][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\"]\n\nEn el texto del libro <\/b>Esto no es una ruina<\/i><\/b>, al final, hay cuatro oraciones. Hablemos de ellas y empecemos con las dos primeras:  \u201cEsto no es una ruina. El motivo no es el tema.\u201d<\/b>\n\nEso surge de un texto que escribi\u00f3 Manuel Antonio Fern\u00e1ndez, el curador de mi \u00faltima exposici\u00f3n que se llama <\/span>Mirar la destrucci\u00f3n como si fuese m\u00e1quina. <\/span><\/i>\u00c9l tambi\u00e9n es artista, este es un texto que \u00e9l escribi\u00f3 a partir de algunas ideas y conversaciones que tuvimos y el t\u00edtulo se mofa del \u201cEsto no es una pipa\u201d,  de Magritte.  Hay algo que converso bastante seguido con Manuel: nosotros identificamos que en la fotograf\u00eda contempor\u00e1nea hay un gran problema y es que los fot\u00f3grafos,  a diferencia de los pintores, no saben escindir el concepto de tema y de motivo.<\/span>\n\nLa fotograf\u00eda tiene una carga tan literal en su producci\u00f3n, que hay una gran confusi\u00f3n. Fot\u00f3grafos y fot\u00f3grafas piensan que lo que est\u00e1n fotografiando es lo que est\u00e1n mostrando. La pintura no tiene ning\u00fan problema en decir que su motivo es un arreglo floral y el tema es la muerte. En el t\u00edtulo del trabajo hay algo de mofarse un poco de ese sistema de literalidad: te muestro una ruina, pero te digo que no es una ruina.<\/span>\n\nPara m\u00ed hay dos problemas en la fotograf\u00eda. El primero es ese, no hay escisi\u00f3n entre tema y motivo; el segundo es que los fot\u00f3grafos no leen, entonces en general no hay tampoco v\u00ednculo con otras disciplinas.<\/span>\n\nDec\u00edas al principio que vienes de una generaci\u00f3n que cree que la imagen le va a dar algo, que va a encontrar algo en ella. \u00bfC\u00f3mo funciona esto en el caso de <\/b>Ruinas<\/i><\/b>?<\/b>\n\nEn varios niveles. En primera instancia, hay algo que pasa en <\/span>Ruinas<\/span><\/i> en cuanto al rendimiento de las im\u00e1genes y es que en muchas de ellas el umbral de visibilidad es muy bajo, hay poca informaci\u00f3n y adem\u00e1s el motivo es poco claro, la referencia es poco clara. Entonces hay un trabajo muy activo del observador en tratar de construir la imagen m\u00e1s del lado de adentro que de lo que la imagen tiene. Desde esa perspectiva, el proyecto est\u00e1 pensado como un desperdigado de informaci\u00f3n que busca un lector activo que trabaje uniendo los puntos. En segundo lugar,  a m\u00ed me interesa mucho construir im\u00e1genes que como fotograf\u00edas no se termina de entender mucho de d\u00f3nde vienen ni qu\u00e9 son. Me gusta construir estos peque\u00f1os iconos enigm\u00e1ticos.<\/span>\n\nUna parte del proyecto es un libro publicado por Sed, mi editorial. <\/span>Se puede descargar gratuitamente en pdf. <\/span><\/a>En el libro hay una construcci\u00f3n literal de un personaje en primera persona que ingresa a un templo y va descubriendo cosas. En el centro descubre unas escrituras que traduce y en ellas se encuentra con un mito que contiene un mont\u00f3n de claves muy aleg\u00f3ricas y muy difusas, pero a su vez muy referenciales. La lectura de ese mito activa cierta cuesti\u00f3n que hace que pase algo en ese espacio espec\u00edfico en el libro que es el centro del templo. Yo lo pens\u00e9 como el centro de la c\u00e1mara fotogr\u00e1fica, ese lugar del aparato fotogr\u00e1fico donde se producen las im\u00e1genes y al que nosotros no accedemos.<\/span>\n\n<\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_2,1_2\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila 50-50\" module_class=\"vst-cnt-img-x2\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"0px|50px|0px|50px|false|true\" custom_padding_tablet=\"|25px||25px|false|true\" custom_padding_phone=\"|20px||20px|false|true\" global_colors_info=\"{}\"][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|0px|false|false\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\"][\/et_pb_column][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|0px|false|false\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"14428\"][\/et_pb_code][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\"]\n\nLa siguiente oraci\u00f3n es \u201cLa fotograf\u00eda miente\u201d.<\/b>\n\nLa fotograf\u00eda ontol\u00f3gicamente es una mentira. Uno de los primeros autorretratos fotogr\u00e1ficos es el de Bayard, un loco que manda sus fotograf\u00edas muerto con un texto reclamando. La fotograf\u00eda nace con una primera mentira que es decir que su origen es en Europa, hay muchas mentiras acumuladas. <\/span>\n\nAhora estoy trabajando en un texto alrededor del  concepto de <\/span>uncanny valley<\/span><\/i>, el valle inquietante, que es una teor\u00eda est\u00e9tica de un fil\u00f3sofo japon\u00e9s y se utiliza hoy en d\u00eda fuertemente para dos desarrollos uno es la rob\u00f3tica y las artes gr\u00e1ficas digitales, tipo Pixar. Esta teor\u00eda habla de un umbral de empat\u00eda, en el cual nosotros a medida que algo se va pareciendo m\u00e1s a un ser humano tenemos m\u00e1s empat\u00eda. Hay un umbral que es el valle inquietante. El Gr\u00e1fico hace as\u00ed: la empat\u00eda crece a medida que algo se parece m\u00e1s a un ser humano pero hay un momento cuando ese gr\u00e1fico est\u00e1 en el 90% de similitud en el cae radicalmente y se forma un peque\u00f1o valle, luego vuelve a subir hasta el 100 % cuando se trata de un ser humano. <\/span>\n\nEstoy trabajando alrededor de esa idea, llev\u00e1ndola a la fotograf\u00eda, es decir, c\u00f3mo estas im\u00e1genes se parecen a seres humanos, pero no son, se parecen a la realidad, pero no es. Sin embargo, es un contrato de nacimiento que tenemos de creer en algo que sabemos que no es. Al principio yo batallaba mucho con esa idea, porque la fotograf\u00eda miente y hay gente que dice que no. Despu\u00e9s me di cuenta de que esa contradicci\u00f3n es constante, no es ni la mentira, ni la verdad. Esa disputa es el espacio para m\u00ed donde hay un inter\u00e9s cr\u00edtico en la fotograf\u00eda.<\/span>\n\nQuiz\u00e1 si se aceptara eso o si se abandonara la preocupaci\u00f3n por la verdad la fotograf\u00eda podr\u00eda vivir una liberaci\u00f3n.<\/b>\n\nYo creo que eso da libertad al desarrollo de la imaginaci\u00f3n fotogr\u00e1fica. Estamos cerca de vivir una revoluci\u00f3n con la fotograf\u00eda y espero que pase pronto, yo creo que va a suceder con el desarrollo de los sistemas neuronales, de inteligencia artificial que vienen a construir im\u00e1genes fotogr\u00e1ficas. Algoritmos y programas que est\u00e1n siendo alimentados por fotograf\u00edas y tienen la capacidad de producir cosas que parecen fotograf\u00edas.<\/span>\n\nCreo que en los a\u00f1os que siguen con desarrollos m\u00e1s profundos de eso vamos a empezar a prescindir  de la necesidad de la fotograf\u00eda o de la c\u00e1mara fotogr\u00e1fica como la \u00fanica cosa que puede producir fotograf\u00edas. Y eso puede producirle a la fotograf\u00eda una liberaci\u00f3n similar a la que tuvo la pintura con la fotograf\u00eda.<\/span>\n\n<\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_2,1_2\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila 50-50\" module_class=\"vst-cnt-img-x2\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"|25px||25px|false|false\" custom_padding_phone=\"|20px||20px|false|false\" collapsed=\"off\" global_colors_info=\"{}\"][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|10px|0px|0px|false|false\" custom_padding_tablet=\"|5px|||false|false\" custom_padding_phone=\"|0px|||false|false\" custom_padding_last_edited=\"on|phone\" pac_dcm_carousel_specific_module_num=\"0\" 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disabled_on=\"on|on|on\" admin_label=\"Pie de foto\" _builder_version=\"4.15\" _module_preset=\"default\" text_text_color=\"#6e6e6e\" text_font_size=\"13px\" text_letter_spacing=\"0.16px\" text_orientation=\"right\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"10px|0px|15px|0px|false|false\" custom_padding_tablet=\"||10px||false|false\" custom_padding_phone=\"|20px|5px||false|false\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"font-weight:400;\" disabled=\"on\" global_colors_info=\"{}\"][\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\"]\n\nLa \u00faltima oraci\u00f3n: \u201cLa \u00fanica verdad es la ficci\u00f3n\u201d.<\/b>\n\nEn los \u00faltimos a\u00f1os hubo una  idea no tan buena alrededor de la relaci\u00f3n entre fotograf\u00eda y ficci\u00f3n. Se asumi\u00f3 que generar ficciones es hacer <\/span>stage photograph,<\/span><\/i> construir escenarios y cosas y fotografiarlos. Yo trato de inscribirme m\u00e1s en la idea de las capacidades pol\u00edticas de la ficci\u00f3n, es decir, si no somos capaces de imaginar un mundo nuevo, c\u00f3mo vamos a cambiarlo. Esto es ciencia ficci\u00f3n radical, imaginar mundos posibles hasta los m\u00e1s lejanos y que eso sea un ejercicio pol\u00edtico para traer lecciones,  proyectar escenarios que nos ense\u00f1en cosas para el diario. <\/span>\n\nPara m\u00ed un buen ejemplo de eso, para hablar sobre cosas concretas, es el trabajo de Federico Estol <\/span>H\u00e9roes del brillo<\/span><\/i>. Ese es un buen ejemplo de la utilizaci\u00f3n de las capacidades ficcionales de la fotograf\u00eda para construir un entramado que tenga que ver pol\u00edticamente con problemas regionales y que construyan desde las bases, desde la tierra.<\/span>\n\nPara terminar, podr\u00edas hablar un poco sobre Sed, tu editorial. \u00bfQu\u00e9 buscas en ella?<\/b>\n\nComo editor busco trabajos que est\u00e9n en dos extremos: aquellos que buscan escapar de la fotograf\u00eda o aquellos que no quieren esconder lo obvio, los hiperliterales.<\/span>\n\nEn el manifiesto que est\u00e1 en la p\u00e1gina, digo que no me interesa la relaci\u00f3n de la fotograf\u00eda con el espejo, sino con el espejismo, con la idea de esa imagen que se produce por necesidad y deseo. Es la imagen de un hombre o una mujer caminando por el desierto, sediento despu\u00e9s de varios d\u00edas y ante la necesidad y el deseo de tomar agua ve un oasis, ve una imagen que no existe. Me interesa m\u00e1s la fotograf\u00eda que producimos por necesidad y deseo y no tanto por buscar reflejarnos.<\/span>\n\nTengo una colecci\u00f3n que se llama Enigma en la que estoy trabajando espec\u00edficamente con proyectos que buscan desobedecer los programas de los aparatos, y desde ah\u00ed producir enigmas visuales, unas especies de rompecabezas visuales sin la imagen de referencia para armar. Despu\u00e9s tengo otra l\u00ednea que cada vez me interesa m\u00e1s y, de hecho, este a\u00f1o van a salir dos o tres libros que se llama Detr\u00e1s del espejismo un poco en juego con Detr\u00e1s del espejo de Alicia. Es una l\u00ednea que busca desde el texto tratar de pensar nuestra relaci\u00f3n con la foto y los libros de fotograf\u00eda.<\/span>\n\n<\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]","_et_gb_content_width":""},"categories":[3,272,280,279,285,278],"tags":[492,491,490],"acf":[],"yoast_head":"\nMartin Bollati behind the mirage - Vist Projects<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/vistprojects.com\/en\/martin-bollati-behind-the-mirage\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Martin Bollati behind the mirage - Vist Projects\" \/>\n<meta property=\"og:url\" content=\"https:\/\/vistprojects.com\/en\/martin-bollati-behind-the-mirage\/\" \/>\n<meta property=\"og:site_name\" content=\"Vist Projects\" \/>\n<meta property=\"article:published_time\" content=\"2022-06-21T15:48:10+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-06-21T15:49:12+00:00\" \/>\n<meta name=\"author\" content=\"mvallejoq\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:description\" content=\"[vist_img_post_intro]\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"mvallejoq\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"12 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/vistprojects.com\/en\/martin-bollati-behind-the-mirage\/\",\"url\":\"https:\/\/vistprojects.com\/en\/martin-bollati-behind-the-mirage\/\",\"name\":\"Martin Bollati behind the mirage - 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