Toni Catany, Oswaldo CiprianL I thus had no doubt how I was ancient guitar, which was Raíael Navarro and Juan going to approach the job. made írorn a shell and a Vacas may possibly answer the single, long string, produced innumerable questions raised Toni CATANY such intimate sounds that it was on this topic. Their works make Barcelona, March 1992 useless 10r battle or 1east.The up a unique exhibition that has guitar has traditiona11y been be en set up in the Guitar'92 A MITHOLOGICAL APPROACH and still is an instrument oí Córdoba Festival. together with TO THE GUlTAR peace, quíetness. capable 01 this book. which is bound to be expressing the most delicate a source oí information íor Faced with the choice oí 1eelings. It was not created ter researchers, historians and tackling a guitar project on a singing the 1eats 01man, but his media workers worldwide. reaL we11-documented experiences. mythological basis or on After an itinerant joumey a11 invented mythical lucubrations From this conclusion I used over Spain and other countríes. -two íorms oí expression on some mythical elements such the photographs sha11start a with my works have relied íor as Euterpe. the Muse 01Music; new, singular co11ectionoí the some time now-, I began to the Sylphs, íantastic beings, Fototeca de Córdoba that wi11 investigate the relationship elemental spirits 01the air; and be enriched with contributions between myths and music Selene, 01magicaL creative trorn new photographers to be -particulary plucked string íníluence. with the aim oí invited in the coming years instruments. I must admit I creating an unreal space 10r and will provide a íound very little about music: the works I am now presenting. complementary artistic rnerrncíds' singing, Pon's meaning íor the Festival's magical flute. Corybant gods, The characters have a11be en tribute to one oí the most Echo...Nor did I find much created írom photographs oí popular instruments oí our about plucked strings: the people or parts 01people and time: the guitar. sound oí Ulysses'bow string as objects that were reproduced in the forrn 01still lives or José F. GALVEZ he drew ít. and little more. I theatrical models 1rom photographs 01actual guitars ...TRAT TIMELESS was coníronted with a deep or women bodies that played ATMOSPHERE vacuum ... themselves . I cannot remember now with At the beginning, my mind was Representing sound in plastic whom or why I was at the crossed by a series oí volatile arts is next to impossible. It is workshop oí a íamous GUITAR images that made me believe usua11ydepicted as musical maker some time ago. I would soon decide on the notes emerging írorn matter. Soon afterwards I had instruments or as beams 01 The workshop was rnínute. nothing to stick to: I did know straight or wavy lines that open orderly untidy, íull oí noble how to begin ... outwards. wood, tools tamished through usage and passage oí time, I leamed that the guitar -in its To this end, I used some Sylphs cardboard templates and various íorrns and names- has which I depicted as homunculi GUITAR embryos. be en around íor some 7000 that played about on hearing years, yet. with the exception oí the vibrations írom strings as I had the íeeling time had some Egyptian obituary they were plucked. stopped there and I was images and papyrL and a íew íascinated by that timeless weathered stones that suggest Euterpe. the Muse 01Musíc. atmosphere. the existence oí some ancestral was depicted in various ways: sorts oí guitar, lyres, horps. as ahuman being (two models When I was commissioned this homs and drums were the most in as many photographs); as a visual approach to the GUITAR lavishly depicted instruments oí guitar, in a photograph 01the I immediately recalled those old ages. series «The loves 01Cyclopea images 01the workshop, which and Euterpe» which I had were still alive in my memory. I wondered why this gap and taken a íew years ago and soon íound as answer: the retook 10r the occasion in acknowledgment 01my two
greatest passions: photography, visual íacts and transíorm them who are in a way vibrating on represented by Cyclopea (and into timeless oneiric or the same wave as I amo invented goddess whose only archetypical expressions eye resembles the lens oí a beyond the known space. This ability to suggest without camera), and rnusíc. actua11yuttering or depicting symbolized in Euterpe. the I am much pleased to show my situations in full is common to guitar. work in Córdoba again, even music and it is to my íondness more so in the company oí oí this art I believe I owe such One other photography was three artist I greatlyadmire. I an ability. taken inside a badly damaged wish to thank the Festival guitar which I was lucky director, Francisco López All this led me to tackle this enough to find in a dustbin - I Gutiérrez, the Exhibition venture with the aim oí going would never have dared to organizers, José Gálvez and beyond superficial views oí the take one aparto Within, a Alicia Reguera, and the Town object -no easy tosk. I am human guitar plays itself as a Council oí Córdoba, whose aíraid- because the guitar's living element oí its sound or its representatives are putting shape is so suggestive and own spirit. It is accompanied photography and lends itself so readily to purely by Euterpe. who looks sensitive, photographers in their truly plastic interpretations that I satisfied, sensual. deserved place in the context was compe11ed to tum a deaí oí fine arts. ear on mermaids' singing and Fina11y,in another photograph, dive deeper. human string in search oí their Oswaldo CIPRIANI place in a guitar eventua11y Madrid, 1992 As I broke down the most become sounds. immediately apparent and RHYTHM, REPETITION, ECHO, usual icons I came across more This was an arduous task íull oí COUNTERPOINT ... elaborate concepts which I encounters and partings. Now compiled and rearranged into that I have given the finishing The first question would be: architectural codes that I used touches and the images are What is the guitar? to construct a supporting ready íor íraming I believe skeleton. these photographs are but and the /ypical answer would be: sketches oí works I wi11 A musical instrumenl. After a reflection period which probably never accomplish. I always a110wmyself when I Even so, I must admit I was In addressing a job like thís. see the way ahead, I quite happy in the making. the above approach ís quite discarded some sketches and inappropiate. picked the final one. As regards the technical side oí the job, and íor photographic Ever since I was young, music I suppose every great music laypersons, I must say that they has played a major role in my períormer eventua11y were a11origina11y taken and life. Uníortunately, I was never establishes a close symbiosis printed on black and white able to compose or períorrn. so with their instruments; however, material. The various tones and I could only be an attentive íor no certain reoson. I guess hues were achieved by partial listener. However. this did not the guitar pushes such a development with paint prevent music írom running symbiosis to unimaginable brushes. cotton sticks and through my veins and limits. Perhaps, the figure oí the influencing my art production juggler, who was impenitently swabs, pieces oí cloth. etc.. at a later stage. associated with his instrument -whether a guitar or an using difíerent developer One oí the sides oí plastic instrument akin-, has íormulace, dilutions and creation I am most strongly propitiated this thoughí, but in temperatures in order to obtain attracted by ís the possibility oí íact I íeel it this way, so I the desired tones. shapes and developing subtle languages, origina11y decided than the volumes. No toners were used. quietly whispered messages, human element should be only some retouching water winks that can only be present. colours. The distorted shapes perceived by those readers were accomplished by íolding Later, the idea that the printing paper or using optical instrument should appear on its effects and are meant to isolate
OSWALDO CIPRIANI Photographic Society oí JUAN VACAS Zaragoza and co-íounder oí Oswaldo Cipriani was born in the Grupo Alabern with íellow Juan Vacas was born in Jaén Bahía Blanca (Argentina) in photographers Fontcuberta, in 1923 but has lived in 1942and has lived in Spain Esclusa and Formiguera. He is Córdoba sínce 1952. He has since 1980,where he is a currently the Spanish de1egate given photography seminars at photography tutor at the at the Latin-American university hclls. ínstítutes. People's University oí Torrejón Photography CounciL and secondary schools and a de Ardoz (Madrid). member oí the advisory variety oí institutions including council oí the Joan Miró the Junta de Andalucía. Cipriani was íormerly assistant Foundation (Barcelona). He to master George Arsich in has also been an active Vacas is currently Honorary Bahía Blanca, after which he member oí the AFIAP since President oí AFOCO and worked with the advertising 1976. possessesthe President and agency Rex, was art director oí Escudo de Oro awards oí this La Comedia del Sur and At present. Navarro lives and photographic ossocíctíon. official photographer oí Ballet works as a íreelance which he co-íounded in 1981. del Sur. He clso worked at photographer in Zaragoza. His He is also the current President Laboratorios Fénix and with photographs are included in oí the Andalusian Federation oí several papers and magazines major collections oí Poris. Aries. Photography, which awarded in Buenos Aires, where he Mexíco. Parma, CharleroL him its Trofeo de Oro in 1983. photographed such prominent Míkm. Chalons-sur-Saóne, He was íormerly photography characters as José Luis Borges, Havana, Geneva, Ljubliana, consultant oí the Posada del Atahualpa YupankL Vittorio Brussels.Madrid, Barcelona, Potro and ís the photographer Gassman and Withod Seville, Córdoba and Valencia. with the largest number oí Malcuzinski. He has also served works in the collection oí the as motion picture photography He held 116 individual Fototeca de Córdoba. tutor at the Escuela de Cine oí exhibitions in Barcelona, Madrid. Tarragona, Madrid, Zaragoza, Juan Vacas has won many Bilbao, Córdoba, Rome, national prizes and published Oswaldo Cipriani has held Amsterdam, London. Athens. photographs in Foto individual exhibitions in Bahía Brescia, Numberg, Chicago, ProíesionaL Arte Fotográfico, Blanca, Punta Alta, Getaíe, Buenos Aires, Geneva, La Cortinilla, La Fotografía, Torrejón de Ardoz. Córdoba Antwerp, Tel Avid, Porís. Zurich, FV., Diorama and Cuadernos and Madrid, as well as Lyon. Sdo Poulo. Oslo, Vienna, del Sur, as well as in a host oí collective exhibitions in Huelva, Guadalajara, among many posters. postcards and record Paris and Mexico. Also. some oí others. between 1973 and 1991. sleeves, and in several books oí his photographs are part oí the He has also taken part en 127 coHection oí the Fototeca de collective exhibitions in Europe the Albors collectíon. n.s 3 oí Córdoba. He currently and America. contributes photographs to a which is exclusively devoted to number oí Argentinean and Some oí his photographs are his works. Spanish papers and publicly exhibited at museums magazines. and heId in major collections Vacas has held individual in Fronce. Mexíco. The exhibitions in Córdoba, Jaén, RAFAEL NAVARRO Netherlands, Yugoslavia, Italy, Fuengirola, Mijas, Jerez. Puerto Cuba, Belgium, USA ReaL Valencia, Huelva and Raíael Navarro was born in Switzerland and Spain. Madrid, as well as collective Zaragoza en 1940. He was Navarro has also published exhibitions in Manchester, íormer President oí the photographs in countless Lyon. Tallin, Montijo, Lisboa, books. magazines and Mexico and Riva di Garda, catalogues issued in a host oí and itinerant exhibitions in countries. Andalusia, Greece, Finland and Argentina.
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