Other worlds. Over the course of three years this will be the departure point for a selection of photographers’ work which will be essentially shown in the public space of Getxo. The watchword is Other worlds because the photographers’ gaze suggests unknown universes that surprise and disturb us due to the permanent tension between elements of reality that we recognise, and formal organisations we consider impossible because they no longer match our experience or our way of looking and seeing.
This title, which lets us stay on safe ground, will unfold in three stages, the first of which is the Dream phase. This constitutes the first of all mental and virtual images, even before we conceive forms in association with what they are supposed to represent. The dream is a unique, individual, singular experience that takes on a wide and surprising variety of forms in accordance with the individuals, periods, cultures or social mediums involved. And we certainly always dream that we are different from what we are. Through its power to reveal profound mental structures, dream is also a fantasised way of transforming oneself into another. An elusive and often impossible double, made of desires and forebodings, original fears and deep yearnings. A space that may house revolution or a return to normality. We dream both of impossible futures and of reencounter with the past. In so doing we invest dreams with qualities of premonition or refuse to recall them.
These immaterial images that pursue us are clearly a paradox when we wish to make them the central subject of our programme: we ask photographers to show us what’s not visible. It was easy to come up with the challenge but so hard to carry out the selection procedure for it. For today’s photographers –when the fundamental objective of still images backed by a tradition covering nearly two centuries is no longer to document or to represent the world- dream worlds are familiar, assert their identity, exhibit their fantasies, unveil their innermost natures. In the same way, they make use of the technical evolutions that, projecting the photograph within a world of images, enable them to free themselves from the contingencies of the real to declare that what is essential is their point of view, their emotion, sensibility, and position vis-à-vis the world.
Despite risking apparent contradictions we have tried to chart the plastic extension and conception of photography today, ranging from document to pure game at the limits of illustration, from commitment to aesthetic investigation. So we intermingle multiple writings, each with their different features, confronting the complexity of our contemporary surroundings. All these writings carry different references, shaped by their background training or affinities: photography perhaps; cinema indubitably; sometimes drawing; and often literature and poetry. As proof of its maturity, photography sees itself no more as a besieged fortress that must demonstrate its status as “art”. It dialogues with all spheres of contemporary creation as the only way of situating itself and of possessing an intelligible discourse.
We wanted these images to come from all over the world. They do not fully tap the expanse of the planet, but they break with the ethnocentrism that for so long reserved recognition in this field for Europeans and Americans. But beware of seeing works as “good” because they come from elsewhere; we are not chasing the exotic, the typical, or the exemplary. Our aim is simply to communicate that the local, when best expressed, is absolutely universal.
These images from far or near will exist in public space, and that is the heart of the matter. The place from where they are to be read –often only by a minority– ought to make sense. We are fully aware that we are using these artistic works as an offering to the general public, as a stimulus to emotion and thought, and in order to surprise and spread knowledge too. Leaving standard exhibition frames out of the picture, the results dispense with conventions and perhaps, also, pretensions. They are perceived from the outset through an immediate visual impact. They must engage with us and should call up other voices within us. Dreams, maybe. With their accompanying elusive complexity.
Christian Caujolle.Authors 2013Book 2013
On sale at online shopLock-in
A new format in the Festival. Lock-in reviews and challenges the conventional uses and consumption of photography. A full day of informal talks and dialogues, including lunch. A remote place where there is no easy escape for speakers or attendees. An Intimate setting.
This was Encerrona 2013:
Ways to see
10:00 – 11:00
THE STRANGE AND UNBELIEVEBLE CASE OF CRISTINA DE MIDDEL
Photobook is trendy. A books lover talks to a best-selling author.
Julián Barón (photographer)
Cristina De Middel (photographer)
11:15 – 12:15
TWO GRAPHIC EDITORS CONVERSE
In this print media crisis, are there still graphic editors?, which is their real power?
Mónica Allende (Sunday Times Magazine)
Jordi Socías (El País Semanal)
12:30 – 13:30
NOTHING IS THE SAME ANYMORE
The net changed everything. Also our look?
30y3.com, a leading website about contemporary spanish photography.
Iñaki Domingo and Luis Díaz Díaz (30y3.com)
14:00 – 16:00
16:00 – 17:00
TAKING EXHIBITION TO PIECES
Does this format have sense nowadays? Is still in use? Which is the curator’s role?
Javier Duero (Independent curator)
Christian Caujolle (Independent curator)
17:15 – 18:15
THE ART GALLERY AND THE ARTIST
How much does a photography cost? Who visits galleries? The complicated relationship between Art and Market.
Blanca Berlín (Galería Blanca Berlín)
Aitor Ortiz (Photographer)
18:30 – 20:00
MORE ABOUT BOOKS
Have a nice book. Yosigo ´
PHOTOBOOK CLUB ESPECIAL.
PHOTOBookJockey. Julián Barón
The debates were presented and moderated by Alejandro Castellote and Jon Uriarte.
There was a small space for books published by the speakers.