be in memory. Digital media. 2006
"hide and reveal presences things at once, rotate to the origin and return to the immediate, zoom in and contrary elements. The image returns the viewer with a plurality of views and ways. Thus the image is split into a verbal or visual poem. The image not only informs the experience. But fixed and reveals. Makes it an aesthetic presence. "
Octavio Paz
Developed as a book artist, this work is the collection of identity documents carefully preserved for their value as: the card, the birth certificate, the fragments of the album for children, identity photos, some of them with different makeup and accessories that reveal a change of image or personality for a moment and manuscripts alluding to record moments to give evidence at risk of forgetting.
be in memory by images of a person known or unknown but not far from having a sense of self-recognition, projection or regression.
A picture is not simply a copy of an event, a desire to stay or an obligation imposed by society, goes far beyond the desire to stay, to approach a particular date, all these practices belong to the ritual carried out in almost every home, continuously track the best moments, this is how it is organized almost in chronological order, the photo of the parents' marriage, the mother and (o) aunts in pregnancy, the arrival of the first newborn babies (can not miss the lock of hair to the side), baptisms, birthdays, trips, tours and you can not miss the surprise of reaching to cover the face of angry and drunk until they reach the first grandchildren and history repeats itself: more pictures and albums.
is quite possible that the family album to vary according to material, means of distribution, type of image and even social class, however, its role remains to be preserved.
And it is so important to the image as the "eyes."
"Looking is not receiving, but the visible sort, organize experience. (...) The look is not ritual or commemorative look familiar, that is the private forum we practice, for example, home browse an album of reproductions. But cultures of the gaze, in turn are not independent of the technical revolutions that come to change the format each time, materials, the amount of images that a society should take care " [ 1] .
Then the image and look act inseparably. Ever wondered what we would we without a self-image of our face?, so if we have clear is that nearly everyone has been teased or comments regarding identity documents, particularly the ballot and let's face it, deep down that we hardly see that image is missing or always on details, we want to do your best because this should be the means of control necessary, without it we do not exist in society, with the majority, everyone should have a face to the state- (...) But the point is the photo ID. It was said that ID cards are a form of control exercised by those in power through them register people (everybody should have sided with the state) and their identity is made public. So what happens when a person is identified? What caught her those documents and that leave out? What kind of subject is constructed with those photos that lack context and are born together with the public? What about reception? " [ 2]
The photo identity documents or have everything but intimacy, are passed from hand to hand, the intimacy goes beyond being a photo shoot, that face is beyond the actually is, is the mask of my true self, but Who am I? What is my identity? The term "person of Latin personata is translated as a masquerade, that is, a person from its etymology means mask. Photo Identity then is not only the image of a mask, this image does not reveal who I am, tastes, feelings, character, personality, weaknesses or points of view, among others.
"(...) that distorts my inner truth is, contrary to everything that makes me appear identity firm, steady, straight and rigid behavior, behavior inflexible, thus distorting my privacy is any impression of solidity and fixity as that required in-just-public documents that determine my personality in civil or social identity. That, as identical to introduce myself, without weakness, without cracks or weaknesses, without fear or trembling, distorts the truth of my life (of my death, my death) because it distorts false, misrepresents its fragility with the appearance of firmness . Nothing is more opposed to identity privacy, because privacy is what keeps us from being identical. (...) To be intimate is not able to identify with anything or anyone, can not be identified by anything or anyone ... "
(Pardo, 1996b, p. 47. Quoted by Camilo Restrepo)
(Pardo, 1996b, p. 47. Quoted by Camilo Restrepo)
Thus, intimacy-identity go hand in hand but on opposite sides, thus the image of identity is questionable.
However, we found family albums plus a few passport size photos, photos, narratives, those that can not be without a story, printed a story, even when people who barely know.
"beyond the fixed poses, stereotypes, clichés, outdated codes, beyond the rituals of chronological order and the inevitable scansion of family events (Birth, baptism, communion, marriage, holidays, etc..), The family album is always an object of worship, care, worked, maintained as a mummy, kept in a safe (and baby's first tooth or lock Grandma's hair), it opens with emotion, a sort of vaguely religious ceremonial, as if it were to summon the spirits (...) " [ 3]
Somehow Photos the family album we corroborate our way in the world, our belief there is already evidence that assures us of a past time expressed in time and place. Rachel, the replicant believes that human Blade Runner (1982) saved as evidence of his childhood a picture which associates the memory at that was bitten by a spider, which ensures the human condition in the memory.
(...) No doubt that what gives value to such albums are neither represented in the contents themselves, or plastic or aesthetic qualities of the composition or the degree of similarity or realism of clichés, but its pragmatic dimension, its status index, weight irreducible reference to the fact that this is real physical traces of individual persons who have been there and they have special relations with those who look at the photos. That alone explains the cult of which tend to be family photos and that makes these albums in a kind of funeral monuments (...) "
be in memory is to think about the value given to picture books this monument so exalted in the home. The work contains some fragments of this kind, associated with passport photographs and some documents like the charter, the ballot of baptism and civil registration.
[1] Debray, Regis. LIFE AND DEATH OF THE PICTURE. Paidós editions Iberica SA, Barcelona, \u200b\u200b
1994. P. 38.
[2] RESTEPO, Camilo. PHOTO CAPTION. Editorial EAFIT Fund. Colombia,
2002. P. 50
[3] DUBOIS, Philippe. The photographic act. Op. Camilo Restrepo. The photograph. Page 43
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