Formas de comunicación directa (Forms of direct communication)
Digital Graphics, Political / Social, 57.6x39.6x1.6cm
Methacrylates and facsimiles of newspapers sheets (inkjet prints)
Work in progress series. Variable dimensions.
(Please, for more information and photos visit my web-page: www.maurovallejo.com)
If we look at how the information contained in any news journal is displayed we find that it follows a very particular internal order. In some periodicals there is a special occurrence with the images they contain. Occasionally, when the news outlined are accompanied with full-spread photographs, these images surpass their allocated portion of the page, and are thus split and divided into two different specifications and laid out equally on both sheets. This allows such pages to display the said images in a way that they, when the sheets are folded and bound, are in the correct place.
Thus, when the sheets are unbound and laid flat, two different pictures can touch on one sheet, in the center of the paper, precisely where the journal would fold, producing a complete and flush connection between them. This connection generates a new image formed by two fragments of different sources that are merged due to this system of editorial production.
The result of this encounter produces photographic combinations with a mix and match quality, in an amazing manner, of images of the diverse nature of journalism. When joined, the change in nature is evident not only in the visual, but also in form as it transmutes its usual rectangular appearance, into irregular and rectilinear geometric shapes. If as G. Didi Huberman said, “displaying some images with others is a way to understand them dialectically”, its metamorphosis into a single whole causes a collision of meanings. It seems necessary then to look at them carefully and try to disentangle, and trace their network of relationships.
Forms of direct communication reflects upon the ways in which images are "manufactured" and distributed through channels of mass communication and how, through a process of appropriation and reinterpretation, they can be in turn transformed to be observed from a different perspective. Like many of my works, this project focuses on the study of a particular type of image, the journalistic photograph and its setting, looking both at its hypothetical function, as well as their opportunities outside their natural context.
The daily press is used here as a device of multiple art, highlighting both its value as an editable material (every newspaper has a circulation no matter how small) and its message and interpretation. The pieces could be defined as pre-produced collages, (fragments of images placed within one same context, which already existed as such before the intervention by the artist). The work material comes ready and completed, and what is relevant is the selection, the cropping, its new context. Deleuze once said that “collages allow an integration of reality into a work of art”. Therefore, the sole use of newspapers reinforces that theory as the images are born with that vocation: to be the reflection and the study of its time.
Work in progress series. Variable dimensions.
(Please, for more information and photos visit my web-page: www.maurovallejo.com)
If we look at how the information contained in any news journal is displayed we find that it follows a very particular internal order. In some periodicals there is a special occurrence with the images they contain. Occasionally, when the news outlined are accompanied with full-spread photographs, these images surpass their allocated portion of the page, and are thus split and divided into two different specifications and laid out equally on both sheets. This allows such pages to display the said images in a way that they, when the sheets are folded and bound, are in the correct place.
Thus, when the sheets are unbound and laid flat, two different pictures can touch on one sheet, in the center of the paper, precisely where the journal would fold, producing a complete and flush connection between them. This connection generates a new image formed by two fragments of different sources that are merged due to this system of editorial production.
The result of this encounter produces photographic combinations with a mix and match quality, in an amazing manner, of images of the diverse nature of journalism. When joined, the change in nature is evident not only in the visual, but also in form as it transmutes its usual rectangular appearance, into irregular and rectilinear geometric shapes. If as G. Didi Huberman said, “displaying some images with others is a way to understand them dialectically”, its metamorphosis into a single whole causes a collision of meanings. It seems necessary then to look at them carefully and try to disentangle, and trace their network of relationships.
Forms of direct communication reflects upon the ways in which images are "manufactured" and distributed through channels of mass communication and how, through a process of appropriation and reinterpretation, they can be in turn transformed to be observed from a different perspective. Like many of my works, this project focuses on the study of a particular type of image, the journalistic photograph and its setting, looking both at its hypothetical function, as well as their opportunities outside their natural context.
The daily press is used here as a device of multiple art, highlighting both its value as an editable material (every newspaper has a circulation no matter how small) and its message and interpretation. The pieces could be defined as pre-produced collages, (fragments of images placed within one same context, which already existed as such before the intervention by the artist). The work material comes ready and completed, and what is relevant is the selection, the cropping, its new context. Deleuze once said that “collages allow an integration of reality into a work of art”. Therefore, the sole use of newspapers reinforces that theory as the images are born with that vocation: to be the reflection and the study of its time.
Comments 2
It began in Yugoslavia - the calming I called these wars.
"Adria Tango" (Dancing presention in PowerPOint) as a beginning.
It went to Afghanistan to Iraq. now got new name "spring Arab" ""the new rulers, in cairo want the opposition of tahrir thrown into prisons because they are protesting.""
where the women were totally wrapped up - it is called freedom, democracy and revolution? dominated the man nor the logic?
Say something