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A LOOK TO THE DIFFERENT TYPOLOGIES IN THE PHOTOGRAPHY IN THE NEW EDITION OF THE CYCLE "MARIDAJES"
01.02.2017
Expositions


Bodegas Roda hosts the 18th edition of the exhibition cycles “Maridajes”, organized by Foto Colectania Foundation since 2007 with the purpose of showing the diversity of the ways of looking that are established by pairing the photographies of the different authors of its own collection. This new edition wants to approach to the typologies, in the field of the photograph beyond the classification, repetition and difference. The authors of the exhibition are: Manel Armengol, Joan Colom, Joan Fontcuberta, Chema Madoz, Rafael Navarro, César Ordóñez, Jorge Ribalta and Miguel Trillo.

When we talk about typologies, we immediately think of terms such as classification, repetition and difference. In the photographic field, the concept of typology was motivated by German photographers Bernd and Hilla Becher, that in the 1960s photographed industrial plants, water towers and other vernacular architecture in an apparently objective way. The authors represented in this exhibition coincide in carrying out an exploration in which the repetition of the same thing is equally important as its variations. Many of these projects have become well-known photographic series; and that is because the deeper meaning of these works is usually not achieved from just one single image, but from all the series as a whole. Somehow, many of the concepts that determine the typology, such as the intention to systematize, are a constant in the photography, regardless of whether the portrayed are people, landscape or objects.

Maybe the photographic act itself, hidden under an apparent objectivity and technical production, an attempt to systematize and organize the world itself?

Maridajes is a cycle of photographic series that are exhibited since 2007 in the exhibition hall of BODEGAS RODA from the collection of photographs of Foto Colectania. Each exhibition established a link between different photographers under a central theme axis, creating an interplay of resonances similar to the pairing between a dish and a glass of wine.

The authors of the exhibition:

Manel Armengol

Eryugium Campestre, 2004

The Herbarium of Manel Armengol (Badalona, 1949) celebrates the nature in one of its most generous, simple and elegant forms. The intention of his autor is to rescue from anonymity of those plants apparently plain and show its calm beauty. In this sense, it takes place a kind of metamorphosis in which the image of an herb transforms into a deep and mysterous object. All the photographs are made in a field of Girona during the cycle of the fours seasons between 2004 Spring and 2005 Winter.

Joan Colom

Gente del Raval, 1958-1964

Joan Colom (Barcelona, 1921) is considered one of the most important photographers of the 1950’s and 1960’s and the biggest documentary maker of the daily life of the city of Barcelona. His serie, that expresses with passion and respect the soul of the Raval district, it became one of the photographic essays more singular of his time. The images that constitute this magnificence legacy, belong to his emblematic serie “Gente de la calle”, that has become, not only the chronicle of a neighborhood and an era, but a true story about the human.

Joan Fontcuberta

Herbarium, 1982

In this serie, Joan Fontcuberta (Barcelona, 1955) prepares a treatise on botany, where he analyses through the conventional methodology, a series of discoveries. The autor specifies the location and general characteristics combining real data with other invente dones. The plants, supposedly truthful, are in the author’s own words, “pseudoplantas: small ephemeral assemblages built with industrial detritus, plastic pieces, bones, pieces of plants or members of animals of a very diverse type that I found wandering in the industrial environment of Barcelona belt”.

Chema Madoz

1991-2001

The objects are the protagonists in Chema Madoz (Madrid, 1958), and have as central axis the construction of visual games, new realities created by the association and combination of objects, ideas, functions and materials. Thus, Madoz consideres himself as “an object sculptor who works from the points of view of a photographer, as long as the photography allows him to focus the idea”. The symmetry is one of the frequent resources combining the meanings and connotations in a symbolic analogy. This game is also protagonist in his work. The objects manage from here a realistic presence that speaks of a perseverance and unmistakable style.

Rafael Navarro

Dípticos, 1978-1985

The name of Rafael Navarro (Zaragoza, 1940) is inevitably associated with his series of Diptychs made between 1978 and 1985. The images synthesize his aesthetic thinking and consequently his reality. In this serie Navarro concentrates in three themes: the nude, the solitude and the landscape. With a speech about the internal thought, the result is intense, poetic. The horizon line that separes both photograph acts as a edge, as the fine line between one idea from another. The diptych works as an absolute symbol and exposes the duality of the worlds. It is an indication of incommunication, gates of fear face, a spiritual and vital background, intimate, ephemeral, lyrical and melancholic forms occupy the centre of images. Pure refetences to memory, a memory typified by no one except ourselves.

César Ordóñez

Ashimoto, 2007-2013

César Ordóñez (Barcelona, 1964), photographer with an extensive profesional career, develops his activity mainly between Barcelona and Tokyo. With a vital and generally indirect style, his work focuses on the beauty of existence and its fragility. His photographs move between the real and the metaphorical, between the experienced and the wished. In this serie, Ordóñez proposes and approach to a certain Japanese reality from the term Ashimoto’ a polysemic concept that can refer to the foot, or a part of it, or an undetermined area that can be translated as ‘around the foot’. Through these eloquent words, Ordóñez describes the essence of his series “I follow your imperfect steps, your fragile beauty, almost sensitive. Privacy flashes in the great city. Around your feet…”

Jorge Ribalta

Sur l'herbe, 2005-2008

This serie of Jorge Ribalta (Barcelona, 1963) has been made in the Sónar Festival of Barcelona. This festival began in 1994 and continues to bring electronic music to the city to this day. This serie was made in four consecutive editions of the festival, which from its beginning is one of the most awaited festivals in Europe. With an inescapable reference to the painting of Manet, Le Déjeuner sur l’herbe, and perhaps also to the photographs taken in Woodstock, the serie observes a very special typology. The images were taken on Thursdays and Fridays at the same time in order to attract the same light, creating an excellent game between nature and artifice.

Miguel Trillo

Tribus Urbanas, 1983-2001

The definitive pop vocation of Miguel Trillo (Cádiz, 1953) stands out among a multitude of harmonious and paused photographs. The work of Trillo works within the set of images of Typologies as an aesthetic counterpoint, although his style pretends to be neutral, as if he had not chosen the frame, nor the accumulation of images, subjects, colours and their saturation. Through these controlled variables, Trillo reachs what appears to be a superficial visión of an established culture. An urban tribe built with ability and persistence “My work is the result of insistence, of accumulation. I insist, therefore I am. That is my motto”.


 
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