The section Image of the Creative Laboratory of Amics de les Arts i Joventuts Musicals presents:
AFINITATS ELECTIVES
IN SEDE EGARENSIS
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We call “elective affinity” a very particular type of dialectical relationship that is established between two social or cultural configurations and that is not reducible to direct causal determination or to traditional “influence”.
The section Image of the Creative Laboratory of Amics de les Arts i Joventuts Musicals (section that works the visual arts) organizes within the framework of the program of exhibitions in the Gallery of Art The Dome of the entity exhibition proposals on visual arts. These proposals are contributions of both author’s work and projects created by the same section.
Those responsible for the section want to emphasize the importance of the bibliography (critical and theoretical) on current plastic photography (this is not the photograph that the authors of so-called creative photography or those of documentary photography). The project we present at the Festival of Image and Contemporary Photography Album 2024 is part of some works with which we want to reflect on how photography, at the end of the 20th century, makes its entry into the field of art and becomes artistic practice and thus is accepted by this community.
The conceptuals –indebted to Marcel Duchamp’s idea of a work that, beyond the objectivity of painting or sculpture, would be resolved into a pure sign and would be enunciated in the form of “This is art” – developed widely artistic proposals in which language intervened as a necessary condition – and sometimes sufficient – and in which the image itself was used, we could say, as a language, as a “secondary” or derivative language.
It is necessary to insist: the whole paradox of photography’s “input into art” was resolved at the end of the sixties. Photography, at the same time ontologically precarious and yet indispensable, will sometimes be the companion, often the “remaining”, but always witness, until it finally becomes – and this will be one of the essential determinations of the eighties – in the work itself.
Dominique Baqué, La fotografia plàstica (2003)
In the early sixties and during the seventies of the twentieth century, a generation of artists appears who with their activities – happening or land art – mobilize the body considered in its pure, dirty and primitive form.
In the context of the first artistic practices of Conceptual Art (Land Art), the action of walking becomes a tool of landscape configuration, even as an intervention in the field of purely architectural, in this context Richard Long (sculptor and photographer) and other conceptual artists organize their work from photographs or, rather, purely from the photographic act.
Samuel Garrofé
Laboratori Creatiu – Secció Imatge
BIBLIOGRAFIA
- Walkscapes. El andar como práctica estética. Francesco Careri. Editorial Gustavo Gili (2013).
- Dirección única. Walter Benjamin. Ediciones Alfaguara (1988).
- La Nueva Babilonia. Constant Nieuwenhuys. Editorial Gustavo Gili (2009).
- Las ensoñaciones de un paseante solitario. Jean Jacques Rosseau. Alianza Editorial (2008).
- Caminar. Henry David Thoreau. Ardora Ediciones (2010).
- El paseo. Robert Walser. Ediciones Siruela (2001).
- Walking in Circles. Richard Long. George Braziller Inc (1991).
WALKSCAPES
El andar como práctica estética
Francesco Careri
Editorial Gustavo Gili (2009)
ISBN/EAN: 9788425225987
«The walk is a cognitive and creative act capable of transforming symbolically and physically both the natural space and the anthropic. This book tells a story of the perception of the landscape through the act of walking: From primitive nomadism to the artistic vanguards of the early twentieth century, From the Letrist International to the Situationist International, From minimalism to land art. Francesco Careri reviews some of the historical proposals that have conceived the act of wandering not only as a configuration tool of the landscape, It is a form of autonomous art. A aesthetic instrument of knowledge and physical modification of the traversed space that becomes urban intervention.».
IN SEDE EGARENSIS
Xavier Aragonès
«In Sede Egarensis» is a long-term visual exploration of the urban, peri-urban and suburban landscapes of Terrassa. From a series of walks through the different neighborhoods, urbanizations and industrial estates of the city, the photographer Xavier Aragonès has begun to build an archive of images where popular architecture and self-construction have a special weight, the margins and gaps of the urban fabric, the evidence of the past that survives in the present and the signs of futures that could (or not) occur.
This exhibition – and the eight-copy fine art folder accompanying it – presents a first selection of images of the project, which can be consulted – in its entirety and as it is updated – on the website: http://insedeegarensis.com.
Xavier Aragonès
Xavier Aragonès is a photographer born in 1979 in Pineda de Mar and resident in Terrassa since 2009. He holds a degree in Journalism and has studied photography at Grisart and El Observatorio schools in Barcelona. His work revolves mainly around the sometimes subtle and sometimes traumatic effects of human activity on the places around us. He has published two works in the form of a photobook: O. and O. and O and Twentysix Abandoned Catalan Gasoline Stations. The latter has also presented it in exhibition format at the photography festivals Revela’t (Barcelona, 2018) and Festimatge (Calella, 2021) and has been published in the magazine Exit, no 88, No lugares.