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sobre fotografia e memoria

Minha pesquisa faz uso de uma deterioração da imagem de forma a confrontar e questionar a confiabilidade da fotografia como representante da realidade e guardiã da memória. Parece que tal como nossa memória vai se esmaecendo, perdendo as cores e se modificando com o passar do tempo, assim também a fotografia perde sua nitidez e confiabilidade à medida que constatamos a possibilidade de adulterações e a própria mudança na forma de leitura (como quando não sabemos quem é um parente fotografado a mais de cem anos e a referência que nos era dada por um avô ou um parente mais velho é perdida, ou quando nos confundimos ao ver na televisão alguém já falecido fazendo comentários a respeito de coisas atuais).

Parece que estas tecnologias são ainda, ocasionalmente, antagônicas, e diferentes na realização e na linguagem.

Sobre o fazer fotográfico, houve, num período muito curto uma revolução na maneira de realizá-lo, o que antes era um processo físico-químico, analógico, foi substituído por outro eletrônico-virtual, de linguagem binária, onde muitos dos procedimentos foram modificados, desapareceram ou estão se transformando com grande velocidade. Pensar a fotografia atualmente nos provoca diversos dilemas, que requer um aprendizado desta nova linguagem e uma adaptação de quem a produzia de forma analógica e migrou para produção fotografias digitais.

Com relação à associação da imagem ao que é real. Uma fotografia já não representa um fragmento da realidade e muitas vezes já não consegue nos situar com relação ao tempo de sua realização. Qual será o espaço ocupado pela fotografia em uma época onde mesmo a imagem de pessoas que não existem pode ser criada sem nenhuma dificuldade, como poderemos distinguir o que é e o que não e verdadeiro?

As fotos que se seguem foram feitas através do uso de um scanner, com negativos coloridos que realizei há poucos anos. Aproveito ruídos causados pelo tempo nos fotogramas, somados a algumas particularidades da captura digital, que ressalta manchas e modifica as cores retratadas originalmente, agora corrompidas pelo aparecimento de fungos, marcas de adesão aos porta-negativos e deterioração química.

Este trabalho foi realizado graças ao XI Prêmio Funarte Marc Ferrez de fotografia

English

On photography and memory

The current Project has been one of the awarded with the XI Prêmio Marc Ferrez from Funarte which shows and stimulates reflection and artistic production in the area of research, experimentation and creation in photographic language;

My research uses image deterioration as a means to confront and question how trustworthy photography might be taken as a representation of reality as well as a guardian of memory. It seems that similarly to our memory, which fades away thus losing its colors and becoming modified as time goes by, also photography loses its sharpness and reliability once we realize the possibility of adulteration and the change in the way we read photography (such as when we do not know whose relative was photographed in a distant past and the only reference which has was given by and a grandparent or another elderly relative has gotten lost, or when we see someone already deceased being shown on television making remarks on current issues)

In my opinion, those Technologies are still, occasionally antagonistic and different, in terms of production and language.

Considering photographic practice, there has been a revolution in the way it is performed and that revolution has happened over a very short period of time. The once analogical photography has been replaced by virtual and electronic procedures based on binary language. Most of the old tasks have disappeared or been modified at a very fast pace. Thinking about photography nowadays brings out several dilemmas, which requires learning the new language and adapting yourself as an analogical photographer who migrated to the digital process.

Considering the association of an image to what is real, one may infer that photography no longer represents a fragment of reality and more often than not it will provide no clue as to inform us about the date of its production. Which space is to be occupied by photography in a time when even inexistant people might be easily created? How can we tell what is and what is not true?

The following photos were created through the use of a scanner and color negative film exposed not long ago. I take advantage of the noise caused by time to the photos together with some peculiarities that arise from the digital capture, highlighting spots and modifying the original colors already harmed by fungi, film-holder marks and chemical deterioration.

Ricardo Junqueira was Born in Brazii in 1965 and started taking photos at the age of 14. He became a professional in 1984 and has since then been concerned about doing research and reaching results in which not only technique is to be noticed but also artistic expression and creation are conveyed.
Aiming to grow professionally he moved to São Paulo in august 1988, where he worked in several studios with different advertisement photographers, not without considering the artistic side of photography thus matching both advertisement and fine art through the use of unconventional methods of research and technique in his own commercial work, or at other times using the income obtained from more commercial work to finance his own creative career path in the form of exhibitions and publications.
In 1992 he stopped working as an assistant and has since then worked as a photographer with his own space in the very competitive market of São Paulo. He has published his work in several magazines such as: Vogue, Elle, TRIP and Veja and newspapers as Folha de São Paulo, Jornal do Brasil and Correio Braziliense, besides doing advertisement.

In 1996 he moved to Natal,Rio Grande do Norte in search of a better quality of life and also aiming to conquer new territories. He currently lives in Natal. He is a member of Abrafoto- Brazilian Photographer´s Association and has since 1999 been a member of the administrative council of RPCFB ( Brazilian Photography Cultural Producer´s Network). He was one of the awarded with the XI Marc Ferrez prize of Photography from Funarte.

Memória - Ricardo Junqueira

sobre fotografia e memoria

domingo, 3 de abril de 2011

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