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Only single frame photos will be accepted. Photomontages and multiple exposures will be excluded from the competition.
In case of doubt about a possible digital alteration of the image, beyond what is allowed in the conditions of entry, the organization reserves the right to request from participants to supply the original unretouched photo file as recorded by the camera, or a scanned copy of any unaltered negative or slide. The digital images must not bear any mark identifying the entrant.
The images will be sent by E-mail to: premioluisvaltuena medicosdelmundo. The purpose of this data collection and processing is to facilitate the development of the competition and to enable us to contact you if you are one of the winners according to competition rules. The winner together with MdM-Spain will define the objectives and the development of the project, taking into account common interests and the operative security conditions related to possible destinations.
The amount of the grant should cover all expenses needed to develop the project. The photo project will have to be finished before the December 15, In their promotion, MdM-Spain will identify the photographers whose works have been chosen.
After meeting and coming to a decision, the panel will announce: the winner of the project grant at least three finalists, as previously mentioned.
However, although the image and the voice of the Portuguese explorer are removed—thereby expunging that which individualises and confers immediate identity—the latter is at least recorded in the form of written subtitles. It is not an indistinct form of speech, but that spoken by people who perform specific functions in the group they belong to captains, priests, soldiers, scribes This artifice bestows on the words the power to describe the encounter with the other, but also to define those who are strange to them the Indians in an undifferentiated way.
If the subtitles allow the viewer to imagine the scenes that accompany them—thus in some measure recovering the images that the video suppresses—they also contaminate them with the view of a world where difference is viewed merely as a deviation from a presumed normality. Using little more than the printed word, Vera Cruz also demonstrates how film—even, or perhaps especially, the historical, photographic, documentary film—can be an instrument for inculcating hierarchies and thereby annulling the supposed right to narrate life from different perspectives with equanimity.
This reinforces the idea that a text, just like an image created by someone or of something, may serve as an instrument of social forgetting. This piece comprises a set of prosaic writings taken from newspapers, in which there is always some kind of allusion to photographs.
From such texts written to be read and practically forgotten in the course of a day, the artist removes the names of the individuals mentioned and replaces them only with initials the farmer X. The writings are thus deprived of any marks of human individuation, thereby reducing their power as evidence and divesting their protagonists of any clear identity.
The oblivion to which they were originally destined is thus highlighted and confirmed. This offering to the imagination of an archive of images is also present in the installation Farewell Ceremony , made up of about forty photographs of newly-weds, in which the grooms, dressed in the customary fashion, are posed inside cars or on motorbikes. Instead of capturing intimate moments, these images bear witness to scenes that existed only to be photographed and have preserved therefore their singularity.
For this reason, these black and white images are somehow imbued with an unequivocally nostalgic tone. Each one pulses with a referent, coming from an unmistakable moment in life: when two people stand together to celebrate a project of shared affection. Magnified and organised as a grid on the wall—a form of spatial organisation that makes what is unique only one of a kind—, these photographs end up, however, diluting what once was of distinctive in the individual expectations of each couple, thereby confirming the annulling role of otherness that archives possess.
The unknown and irretrievable length of time that has passed since these scenes were recorded also serves to frustrate the expectation of individuality that they provide. These physical alterations in fact serve as indicators that, by being fixed in photographic images, these couples have not only become eternal, but also, in a precise sense of the word, dead; for they inhabit the images, from the very moment they were inscribed in them by a social ritual, as beings vulnerable to what is to come.
This immobility of the portraits in time also reminds the viewer—by opposition to the progressive ageing process to which the men and women photographed in Farewell Ceremony are inevitably subject—of the inevitability of her or his own death. It is precisely this specular and sombre relation to the work—caused by the weakening of the relation between the images presented and something specific to them—which invites the viewer to remember and project personal narratives into these photographs which have been made to seem alike by the artist.
The variety of events lived through by the viewer also were, however—like those of almost anyone—, many of them registered in photographs, freeing those who participated in them of the need to remember. Instead of memories, only images can be kept, given that they prove and evoke presence in places near or far and participation in rites of encounter or passage.
However, as memory is defined by imprecision, fluidity and even capacity for error, photography is the depository of the belief of one who only attests and confirms facts; while one mimics errant past events in seeking to recreate them in thought, the other reduces them to a precise and single portrait, making it less an instrument for remembering than—by subtracting doubt—an agent of forgetting.
For being the conventional support for photographs, putting them together in an arbitrary narrative, photograph albums are spaces for registering and forgetting individual lives, occupying a privileged position in the affirmation of the ambivalence of this way of fixing and reproducing images. They are instruments that bring together sets of photographs, prove that someone belongs to a family circle and to a particular age, but, at the same time, deprive them of the complexity of their belonging.
In extreme cases, the function of albums as depositories of memory seems to be actively put to the test, as they are often thrown out or sold for next to nothing. By way of a visual confrontation with this collection of archives—supposed vehicles for forgetting what is subtle and uncertain—she paradoxically seeks to find in photography the function of activating the shifting memory of a fact, and not only admitting, through the certainty that an image brings, its unequivocal past occurrence.
At first sight, however—using a strategy that only highlights the position she espouses—the piece frustrates the eye, as it encounters, laid out on small tables arranged in groups, not the albums themselves, but the photographs from their covers printed on brilliant acrylic surfaces, each accompanied by a number from 1 to The objects referred to—the albums for collecting images—can be seen immediately under these covers, enclosed in a transparent case of the same material and partly concealed from view.
Unable to touch them and only obliquely visible in the sort of display case in which they are enclosed, they seem only to serve as proof that the photographs on display relate to originals that may not be opened. These display-cases also express, in the colours with which cover them, an order that is constructed and imposed on the articles placed therein, just as in any other library.
Each of the albums on display is colour-coded by way of a double territorial belonging: the continent on which the photographs contained in them were actually taken indicated by the colours on the lid and the continent on which they were found indicated by the colours of the friezes. Maps of the world installed on the wall nearby each group of four or five of these display-cases are marked with pins which inform the ultimate destination of the albums exhibited and whose heads bear their catalogue numbers and the colours identifying their place of origin.
By blocking visual access to the private narratives probably contained in each album, the artist clearly unstitches the intimate relation that photographs have with the time and place they were taken, making them, through this imposition of blindness, belong to an indistinct place and an imprecise time. She therefore hides images so that only from the way they are catalogued can they be made available and reinvented, on the basis of various references in the minds of the observers who cannot actually see them.
One is a card-index for each of the one hundred albums, in which it is possible to read descriptions of their physical characteristics and supposed or proven iconographic content. The cards also reveal more information on the geographical provenance of the images the albums contain and the locality where they were discovered. Once again, there is here a clash between text and photography as different ways of approaching facts. However careful scrutiny of the cards cannot match up to the experience of actually seeing the scenes contained in the sealed albums to which they refer.
Not only because what is written in them is impossible to describe completely even in the case of the simplest of images, but also because the text, precisely through its descriptive incompleteness, requires the reader to recreate the images in imagination, which spills over, into the realm of re-enactment in thought, the remembrance of stories that the viewer him or herself has lived through.
The content of the index cards, therefore, simultaneously falls short of and goes beyond the narrative power of the unseen photographs. Finally, there is a book, also called Bibliotheca.
There is no text in it, only hundreds of copies made of images contained in the albums before they were locked away, thereby justifying the fact that this object has the same name as the installation as a whole. However, there is no indication in the book as to what the photographs refer to or as to their origins. They are displayed in an order determined only by formal or symbolic juxtapositions.
Furthermore, by separating these images from their original supports—the albums enclosed in the display-cases—, the artist frees them once again from their function of bearing witness to the construction of unique stories inscribed in a given historical time, turning them, in the process, into mere ruins of the course of past lives.
Thus, as users of ordinary libraries choose books, in this installation it is the visitors who, by choosing the archived images that interest them or awaken memories, make this collection of information something that belongs to each one and explain the piece in a different way. There is thus not just one Bibliotheca but many.
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