Bite! magazine » Marcelo Brodsky

A False Veil Behind Which Lurks Death

Photographic oil paintings are hypnotic. The patina of paint is like a false veil behind which lurks death: there is a sense of evasion, as when applying make-up to a corpse prior to viewing. It is a trans-vested genre where the subject is further removed from reality by an additional mask. The photographic image is thus disguised by a technical mixture, but the result is still a hybrid inspiring a particular symbolic tension: that which is intended to be hidden remains present, and what is feigned will never actually happen.

The Reality We Are Not Yet Determined To Accept

[The architect] Salomone’s work is a monumental and wonderfully creative expression of a style in which Art Deco and Rationalism merge. In my view, and analyzing it from the perspective given by the current situation, his task as official architect shows the failure of a country’s project. Although Fresco’s management was quite successful, behind his ambitious urban program, the failure of the rich agricultural and farming Argentina utopia became apparent once again. And this failure broadens the gap between that fiction we still believe in, and the reality we are not yet determined to accept.

Pablo Is Living A Permanent Road Movie

A permanent road movie is what Pablo lives when he drives through our Pampas, looking for images. People, animals, scenery, a mixture of discoveries and unexpected encounters. Pablo received a Guggenheim award to shoot around Argentina, and he has been doing this for years. He loves the countryside and its people. But he is also a bit skeptical. His essay is an ongoing project, a changing scene, a broken sign, a car to sleep in, a photographic discovery, a simple idea: to shoot around unknown territory.

Cracks In Plaster Like Wrinkles In A Face

After the absurdity and the violence, what is left behind? How many of the different aberrations in Argentina’s recent political history can be interpreted in the cracks of the architecture surviving the protagonists? With these concerns as a premise, and rooted in my in my interest for the representation of absence, space and histories, I decided to work with the appearance of certain buildings and monuments.

Such An Eclectic And Transformative Animal

Bruno Dubner has achieved a degree of intimacy with the photographic medium that make his work become simple, synthetic and complex at the same time.

Moonlit Islanders Of The Paraná River Delta

With my photographs, I create imaginary scenarios with real people and situations. I explore the limits of documentary photography, using technical processes to transform the natural perception of light, color, and space. Much like a script in my head, I think of my pictures as slides of unfinished stories. The photographs are carefully planned after days of observation and then come into being with the slow process of a large format camera. Using only the light of the moon and flashlights, it can take from five to ten minutes until this thick darkness sprouts what is secret. My intention is to use photography to occupy a border between document and fiction and imbue the islanders with a strange timelessness. Photography can transform reality and produce a magical view of people and of life.

Drugs Fall On Piedra Buena Like Rain

I have spent all my life here, at the rhythm of Piedra Buena. This is my world, people know me and respect me as I walk on the street, the walls of the houses are cracking because of their age, like the faces of kids transformed by drugs and violence. I love my neighbourhood, I am proud of it, I will not leave this place, just as the other people do not want to leave, and if they have to, they move no further than 10 blocks away.