Comentarios sobre fotografía de escritor de hoy Antonio Muñoz Molina y del ayer Cela.
La fotografía, como cualquier acto de comunicación, no termina en la mera exposición, termina cuando es contemplada, o incluso interpretada por el observador, que en la mayoría de los casos cuenta con la ventaja que otorga el paso del tiempo, en palabras
del escritor Antonio Muñoz Molina, “lo que enseñan las fotos no es la inmovilidad del pasado, sino precisamente lo contrario, el temblor de todos los presentes sucesivos, no desfigurados por la memoria, no convertidos en arqueología”. Cada fotografía se
convierte en un fugaz viaje desde el hoy hasta el ayer, en una mirada perpetua sobre realidades más o menos efímeras, en una sugerencia inconsciente a revisar lo que creemos evidente, o simplemente en una luz tenue que ayuda a caminar por la penumbra
del pasado.
del escritor Antonio Muñoz Molina, “lo que enseñan las fotos no es la inmovilidad del pasado, sino precisamente lo contrario, el temblor de todos los presentes sucesivos, no desfigurados por la memoria, no convertidos en arqueología”. Cada fotografía se
convierte en un fugaz viaje desde el hoy hasta el ayer, en una mirada perpetua sobre realidades más o menos efímeras, en una sugerencia inconsciente a revisar lo que creemos evidente, o simplemente en una luz tenue que ayuda a caminar por la penumbra
del pasado.
........A finales de 1947 Cela retoma aquellas notas y fotografías y se pone a escribir. Al año siguiente publica Viaje a la Alcarria24 en una edición con cincuenta fotografías de Karl Wlasak, que sirven para subrayar detalles del texto.25 En ellas aparece el mismísimo
Cela, quien a su vez las incluye en la narración: «[P]ara que se pueda sacar una fotografía, el alcalde ordena que se dé agua a los caños y el alguacil, entonces, va a buscar un hierro y los desatasca. Algunas mujeres aprovechan para llenar sus cántaros y sus
botijos.» Cela se refiere al Viaje a la Alcarria como «una geografía» que las fotografías ayudan a visualizar
Cela, quien a su vez las incluye en la narración: «[P]ara que se pueda sacar una fotografía, el alcalde ordena que se dé agua a los caños y el alguacil, entonces, va a buscar un hierro y los desatasca. Algunas mujeres aprovechan para llenar sus cántaros y sus
botijos.» Cela se refiere al Viaje a la Alcarria como «una geografía» que las fotografías ayudan a visualizar
........«Tengo alrededor del centenar de fotos, todas ellas muy buenas y creo que convendría publicar todas. El precio de estas fotos va englobado en el total del libro ya que sus autores –el vienés Karl Wlasak y la portuguesa Conchita Stichaner– las hicieron por
mi encargo; yo las pagué y son mías», Camilo José Cela, carta a José Janés
mi encargo; yo las pagué y son mías», Camilo José Cela, carta a José Janés
...........El propio libro indicaba que las fotografías se valoraban no como representación de hechos reales y concretos, sino «por su valor artístico y documental, como imágenes vivas de toreo de salón», y «sin que, por otra parte, los textos de Camilo José Cela guarden relación alguna con las personas que aparecen fotografi adas, ni las quieran aludir». De este modo, desaparecía por completo el carácter «informativo» que las fotografías habían tenido en las páginas de Gaceta ilustrada: las imágenes pasaban a formar parte de un entorno literario, tal vez verosímil, pero jamás real.
........El caso es que Cela se personó en el Juzgado de Palma de Mallorca y declaró ignorar que las fotografías en cuestión se referieran en concreto a Eloísa Sánchez, a quien afirmó no conocer. Colom, en cambio, se vio obligado a brindar unas confusas explicaciones sobre su relación con las retratadas.17 Y así, mientras que para Cela no pasó de la anécdota, esta situación amargó al fotógrafo de tal modo que dejó de mostrar en público sus fotos. (Recordemos que Colom nunca estuvo de acuerdo con la selección parcial de su trabajo que había hecho Cela, y que, para él, eliminaba la «fidelidad respetuosa» a la que aspiraba su trabajo.18)
..........La cita proviene de un artículo titulado «Elogio de la fotografía». En él Cela enumera los fotógrafos que aprecia (el marqués de Santa María del Villar, Cecilio Paniagua, Augusto Ignacio Vallmitjana, Nicolás Muller) y apunta algunas reflexiones sobre la radical subjetividad del medio y sus posibilidades, que dependen de la mirada del fotógrafo, y no de su técnica: «Que la fotografía es el ojo del fotógrafo y no el objetivo de la máquina, el pulso y no el disparador, el sentido que se quiera dar a lo que se retrata y no lo que se retrata “per se”, es un supuesto que se nos antoja obvio.» Poco después, Cela publica Doce fotografías al minuto, unos relatos en los que cuenta que un fotógrafo ambulante le ha regalado una docena de retratos con sus correspondientes anécdotas: es decir, unas fotos de ficción y unos comentarios igualmente de ficción que el escritor transformará a su vez en nuevas ficciones.13 El paso siguiente –escribir historias inventadas a partir de fotos reales– supone el origen de Nuevas escenas matritenses
En ( google translate)
File and memory. Docutren 2008
Photography, like any act of communication, does not stop at mere exposure ends when contemplated, or even interpreted by the observer, who in most cases has the advantage conferred over time, in the wordswriter Antonio Muñoz Molina, "the teaching of the photos is not the immobility of the past, but precisely the opposite, the trembling of all successive present, not distorted by memory, not converted into archeology". Each photograph isbecomes a fleeting trip from today until yesterday, in a perpetual look at more or less ephemeral realities, in an unconscious review what we believe obvious, or simply in a dim light that it helps walk through the gloom suggestionFrom the past.Cela (Catalog Photo books Reina Sofia. Spanish Cultural Action, free download)At the end of 1947 Cela takes these notes and photographs and begins to write. The following year published Journey to the Alcarria24 in an edition with fifty photographs of Karl Wlasak, which serve to emphasize details texto.25 They himself appearsCela, who in turn included in the narrative: "[F] or you can take a picture, the mayor ordered to give water pipes and the sheriff, then, will find an iron and gushes. Some women use to fill their pitchers and theirbotijos. "Cela refers to the Journey to the Alcarria as" geography "that help visualize photographs"I have about hundred photographs, all very good and I think we should publish all. The price of these pictures is encompassed within the total book as their Viennese Karl Wlasak -the authors and the Portuguese Conchita Stichaner- made bymy custom; I the paid and are mine, "Camilo José Cela, letter to Joseph JanesThe book itself indicated that the pictures are valued not as a representation of real and concrete facts, but "for its artistic and documentary value, as vivid images of bullfighting games" and "without, on the other hand, the texts of Camilo Jose Cela keep any relationship with persons appearing photographed tuples, nor want to allude. " Thus completely it disappeared "informative" character that the photographs had been in the pages of illustrated Gazette: images became part of a literary environment perhaps plausible, but never real.The fact is that Cela himself at the Court of Palma de Mallorca and declared unaware that the photographs in question are specifically referieran Eloisa Sanchez, who claimed not to know. Colom, however, was forced to give a confusing explanationsits relationship with retratadas.17 And so, while for Cela did not pass the anecdote, this situation soured the photographer so that stopped publicly display your photos. (Let's rememberColom never agreed with partial selection of his work Cela had done, and that, for him, removed the "respectful fidelity" to which he aspired his work.18)
The quote comes from an article entitled "In Praise of photography." In it Cela lists the photographers who appreciates (the Marquis de Santa María del Villar, Cecilio Paniagua, Augusto Ignacio Vallmitjana, Nicolas Muller) and points some reflections on the radical subjectivity of the medium and its possibilities, depending on the eye of the photographer, and not of his technique: "that photograph is the photographer's eye and not the target machine, pulse and not the trigger, the direction you want to give to what is portrayed and not what is portrayed" per se " is an assumption that seems obvious to us. "Soon after, Cela published photographs Twelve minute, some stories in which a traveling photographer that has given him adozen portraits with corresponding anecdotes: that is, some pictures of fiction and fiction also some comments that the writer will transform turn into new ficciones.13 The next step -write up stories from photos reais represents the origin of matritenses new scenes
Photography, like any act of communication, does not stop at mere exposure ends when contemplated, or even interpreted by the observer, who in most cases has the advantage conferred over time, in the wordswriter Antonio Muñoz Molina, "the teaching of the photos is not the immobility of the past, but precisely the opposite, the trembling of all successive present, not distorted by memory, not converted into archeology". Each photograph isbecomes a fleeting trip from today until yesterday, in a perpetual look at more or less ephemeral realities, in an unconscious review what we believe obvious, or simply in a dim light that it helps walk through the gloom suggestionFrom the past.Cela (Catalog Photo books Reina Sofia. Spanish Cultural Action, free download)At the end of 1947 Cela takes these notes and photographs and begins to write. The following year published Journey to the Alcarria24 in an edition with fifty photographs of Karl Wlasak, which serve to emphasize details texto.25 They himself appearsCela, who in turn included in the narrative: "[F] or you can take a picture, the mayor ordered to give water pipes and the sheriff, then, will find an iron and gushes. Some women use to fill their pitchers and theirbotijos. "Cela refers to the Journey to the Alcarria as" geography "that help visualize photographs"I have about hundred photographs, all very good and I think we should publish all. The price of these pictures is encompassed within the total book as their Viennese Karl Wlasak -the authors and the Portuguese Conchita Stichaner- made bymy custom; I the paid and are mine, "Camilo José Cela, letter to Joseph JanesThe book itself indicated that the pictures are valued not as a representation of real and concrete facts, but "for its artistic and documentary value, as vivid images of bullfighting games" and "without, on the other hand, the texts of Camilo Jose Cela keep any relationship with persons appearing photographed tuples, nor want to allude. " Thus completely it disappeared "informative" character that the photographs had been in the pages of illustrated Gazette: images became part of a literary environment perhaps plausible, but never real.The fact is that Cela himself at the Court of Palma de Mallorca and declared unaware that the photographs in question are specifically referieran Eloisa Sanchez, who claimed not to know. Colom, however, was forced to give a confusing explanationsits relationship with retratadas.17 And so, while for Cela did not pass the anecdote, this situation soured the photographer so that stopped publicly display your photos. (Let's rememberColom never agreed with partial selection of his work Cela had done, and that, for him, removed the "respectful fidelity" to which he aspired his work.18)
The quote comes from an article entitled "In Praise of photography." In it Cela lists the photographers who appreciates (the Marquis de Santa María del Villar, Cecilio Paniagua, Augusto Ignacio Vallmitjana, Nicolas Muller) and points some reflections on the radical subjectivity of the medium and its possibilities, depending on the eye of the photographer, and not of his technique: "that photograph is the photographer's eye and not the target machine, pulse and not the trigger, the direction you want to give to what is portrayed and not what is portrayed" per se " is an assumption that seems obvious to us. "Soon after, Cela published photographs Twelve minute, some stories in which a traveling photographer that has given him adozen portraits with corresponding anecdotes: that is, some pictures of fiction and fiction also some comments that the writer will transform turn into new ficciones.13 The next step -write up stories from photos reais represents the origin of matritenses new scenes