Guide for the Rethink research
Rethink Photography Research folder
Exercise 1
http://ariarianne.blogspot.com/2010/03/research-for-rethink-photography.html
Exercise 2
http://ariarianne.blogspot.com/2010/03/exercise-2-while-exploring-chile-on.html
Exercise 3
http://ariarianne.blogspot.com/2010/03/exercise-3-after-exceptionally.html
Exercise 4
http://ariarianne.blogspot.com/2010/04/exercice-4.html
Exercise 5
http://ariarianne.blogspot.com/2010/04/exercice-5-about-all-colombians-are.html
Rethink Project Proposal: Deambúlaciones Nocturnas
http://ariarianne.blogspot.com/2010/04/blog-post.html
Note about Deambúlaciones Nocturnas and more images:
http://ariarianne.blogspot.com/2010/04/notes-about-deambulaciones-nocturnas-i.html
Bibliography
http://ariarianne.blogspot.com/2010/04/reaserch-folder.html
Guide
http://ariarianne.blogspot.com/2010/04/guide-for-rethink-research-rethink.html
Monday, April 19, 2010
Rethink Photography
Bibliography
Aarnio E., Post Moderne Photography, in Kiasma Magazine 5-99. Available at : <http://www.kiasma.net/index.php?id=94&L=1>. Accessed April 16th 2010.
Art, photographie contemporaine, Photosapiens. Available at : <http://www.photosapiens.com/-livres-photo-art-photographie-contemporaine-.html>. Accessed April 15th 2010.
Barthélemy P., 1998, Le secteur urbain informel dans les pays en développement : une revue de la littérature, in Revue Région et développement no 7-1998. Available at : <http://region-developpement.univ-tln.fr/en/pdf/R7/R7_Barthelemy.pdf>. Accessed March 28th 2010.
Bélanger R., 2010, Vu Photo, Centre de diffusion et de production de la photographie. Available at <http://www.vuphoto.org/fr/exposition/77/Les-Tas/>. Accessed April 11th 2010.
Bivert M.-C., 1994, À Bogota des outils de communication aident les enfants récupérateurs d’ordures à rester en vie, 11 / 1994, «dph», dialogues, propositions, histoires pour une citoyenneté mondiale. Available at :
<http://base.d-p-h.info/fr/fiches/premierdph/fiche-premierdph-2205.html>. Accessed March 22nd 2010.
Boulanger C., 1996, AS/SA nº 2 (11.1996), p. 97 to 107, Article 8, Université Laval, 11 pages (On line) L’irréel photographique, Available at <http://www.chass.utoronto.ca/french/as-sa/ASSA-No2/CB1.html>. Accessed April 11th 2010.
Bouyne J. P. and Barrett W., 2008, Missions économiques, fiche de synthèse, La gestion des déchets en Colombie, Mission économique de Bogota, Ambassade de France en Colombie, Ministère de l’Économie, des Finances et de l’Industrie. Available at :
<http://www.ubifrance.fr/environnement/001B0845499A+la-gestion-des-dechets-en-colombie.html?SourceSiteMap=1185>. Accessed March 22nd 2010.
Brisson T., La subversion des images, Centre Pompidou, Paris, 2009-2010, evene.fr. Available at : <http://www.evene.fr/culture/agenda/la-subversion-des-images-28692.php>. Accessed April 12th 2010.
Conceptual Photography, 2008. Available at :
<http://sasthamcotta.wordpress.com/2008/08/22/conceptual-photography/>. Accessed April 15th 2010.
G44, Center for Contemporary Photography. Available at : <http://www.gallery44.org/>. Accessed April 11th 2010.
Güleryüz K. Un panorama subjectif de la photographie contemporaine turque, Exposition 2009. Available at : <http://www.maisondesmetallos.org/Un-panorama-subjectif-de-la.html>. Accessed April 12th 2010.
HotShoe, HotBlog : Fresh Perspectives on Contemporary Photography. Available at : <http://hotshoeblog.wordpress.com/>. Accessed April 13th 2010.
Laguarigue J.-L., 2009, “…The Rest, ou la photo réinventée”, Gens de pays – Portrait d’une diversité martiniquaise. Available at : <http://gensdepays.blogspot.com/2009/06/rest-ou-la-photo-reinventee.html>. Accessed April 12th 2010.
Lucro Z. C. and Alvaro T. R., 1992, Les récupérateurs de déchets à Bogota, un apport au débat sur le secteur informel, translate by S. de Puybaudet, in Pratiques sociales et travail en milieu urbain, les cahiers, no 19 – 1992, Le travail en Colombie vu par une équipe de recherches de Bogota, éd. Thierry Lulle. Available at : <http://horizon.documentation.ird.fr/exl-doc/pleins_textes/pleins_textes_7/carton01/39372.pdf>. Accessed March 26th 2010.
Masurel C., La subversion des images – surréalisme, photographie, film, Centre Pompidou, Paris, 2009-2010, Artistik rezo.com. Available at :
<http://www.artistikrezo.com/art/Photo-et-video/la-subversion-des-images-surrealisme-au-centre-pompidou.html>. Accessed April 12th 2010.
McColl R., Recycling comes to Bogota, 2007, in South American Affairs, Oct. 11, 2007. Available at : <http://colombia.suite101.com/article.cfm/recycling_comes_to_bogota>. Accessed March 28th 2010.
Mercier J., de Ville d’Avray B. et Nimis E, Afrique in visu : le blog au service des photographes du continent, Sud Planète, Portail de la diversité culturelle. Available at : <http://www.sudplanete.net/photo.php?menu=arti&no=6734>. Accessed April 15th 2010.
Morisset V. and Morat F., Tendances de la photographie contemporaine, Centre Pompidou, Paris, 2007. Available at : <http://www.centrepompidou.fr/education/ressources/ENS-photocontemporaine/ENS-PhotoContemporaine.htm>. Accessed April 14th 2010.
Nitsche D., Conceptual – Fine Art Photography, 2002-2009, Available at :
<http://www.davenitsche.com/>. Accessed April 10th 2010.
NoPhoto – Collectivo de fotografia contemporánea. Available at :
<http://www.nophoto.org/>. Accessed April 10th 2010.
PH74 – Fotografía contemporánea ejemplares de edición limitada. Available at : <http://www.ph74.com/index-es.htm>. Accessed April 11th 2010.
Panoptikon : on Contemporary Visual Culture, 2010. Available at : <http://panoptikon.net/>. Accessed April 15th 2010.
Pfrunder P., Gotthard Schuh – une approche amoureuse, in Actuphoto, 2009-07-28. Available at : <http://www.actuphoto.com/10831-gotthard-schuh-une-approche-amoureuse.html>. Accessed April 11th 2010.
Soutter L. The photographic idea : reconsidering conceptual photography, Afterimage, March-April 1999, 10 pages. Available at : <http://findarticles.com/p/articles/mi_m2479/is_5_26/ai_54421750/>. Accessed April 14th 2010.
V&A Exploring Photography – Contemporary. Available at : <http://www.vam.ac.uk/vastatic/microsites/photography/theme.php?themeid=th005>. Accessed April 10th 2010.
Bibliography
Aarnio E., Post Moderne Photography, in Kiasma Magazine 5-99. Available at : <http://www.kiasma.net/index.php?id=94&L=1>. Accessed April 16th 2010.
Art, photographie contemporaine, Photosapiens. Available at : <http://www.photosapiens.com/-livres-photo-art-photographie-contemporaine-.html>. Accessed April 15th 2010.
Barthélemy P., 1998, Le secteur urbain informel dans les pays en développement : une revue de la littérature, in Revue Région et développement no 7-1998. Available at : <http://region-developpement.univ-tln.fr/en/pdf/R7/R7_Barthelemy.pdf>. Accessed March 28th 2010.
Bélanger R., 2010, Vu Photo, Centre de diffusion et de production de la photographie. Available at <http://www.vuphoto.org/fr/exposition/77/Les-Tas/>. Accessed April 11th 2010.
Bivert M.-C., 1994, À Bogota des outils de communication aident les enfants récupérateurs d’ordures à rester en vie, 11 / 1994, «dph», dialogues, propositions, histoires pour une citoyenneté mondiale. Available at :
<http://base.d-p-h.info/fr/fiches/premierdph/fiche-premierdph-2205.html>. Accessed March 22nd 2010.
Boulanger C., 1996, AS/SA nº 2 (11.1996), p. 97 to 107, Article 8, Université Laval, 11 pages (On line) L’irréel photographique, Available at <http://www.chass.utoronto.ca/french/as-sa/ASSA-No2/CB1.html>. Accessed April 11th 2010.
Bouyne J. P. and Barrett W., 2008, Missions économiques, fiche de synthèse, La gestion des déchets en Colombie, Mission économique de Bogota, Ambassade de France en Colombie, Ministère de l’Économie, des Finances et de l’Industrie. Available at :
<http://www.ubifrance.fr/environnement/001B0845499A+la-gestion-des-dechets-en-colombie.html?SourceSiteMap=1185>. Accessed March 22nd 2010.
Brisson T., La subversion des images, Centre Pompidou, Paris, 2009-2010, evene.fr. Available at : <http://www.evene.fr/culture/agenda/la-subversion-des-images-28692.php>. Accessed April 12th 2010.
Conceptual Photography, 2008. Available at :
<http://sasthamcotta.wordpress.com/2008/08/22/conceptual-photography/>. Accessed April 15th 2010.
G44, Center for Contemporary Photography. Available at : <http://www.gallery44.org/>. Accessed April 11th 2010.
Güleryüz K. Un panorama subjectif de la photographie contemporaine turque, Exposition 2009. Available at : <http://www.maisondesmetallos.org/Un-panorama-subjectif-de-la.html>. Accessed April 12th 2010.
HotShoe, HotBlog : Fresh Perspectives on Contemporary Photography. Available at : <http://hotshoeblog.wordpress.com/>. Accessed April 13th 2010.
Laguarigue J.-L., 2009, “…The Rest, ou la photo réinventée”, Gens de pays – Portrait d’une diversité martiniquaise. Available at : <http://gensdepays.blogspot.com/2009/06/rest-ou-la-photo-reinventee.html>. Accessed April 12th 2010.
Lucro Z. C. and Alvaro T. R., 1992, Les récupérateurs de déchets à Bogota, un apport au débat sur le secteur informel, translate by S. de Puybaudet, in Pratiques sociales et travail en milieu urbain, les cahiers, no 19 – 1992, Le travail en Colombie vu par une équipe de recherches de Bogota, éd. Thierry Lulle. Available at : <http://horizon.documentation.ird.fr/exl-doc/pleins_textes/pleins_textes_7/carton01/39372.pdf>. Accessed March 26th 2010.
Masurel C., La subversion des images – surréalisme, photographie, film, Centre Pompidou, Paris, 2009-2010, Artistik rezo.com. Available at :
<http://www.artistikrezo.com/art/Photo-et-video/la-subversion-des-images-surrealisme-au-centre-pompidou.html>. Accessed April 12th 2010.
McColl R., Recycling comes to Bogota, 2007, in South American Affairs, Oct. 11, 2007. Available at : <http://colombia.suite101.com/article.cfm/recycling_comes_to_bogota>. Accessed March 28th 2010.
Mercier J., de Ville d’Avray B. et Nimis E, Afrique in visu : le blog au service des photographes du continent, Sud Planète, Portail de la diversité culturelle. Available at : <http://www.sudplanete.net/photo.php?menu=arti&no=6734>. Accessed April 15th 2010.
Morisset V. and Morat F., Tendances de la photographie contemporaine, Centre Pompidou, Paris, 2007. Available at : <http://www.centrepompidou.fr/education/ressources/ENS-photocontemporaine/ENS-PhotoContemporaine.htm>. Accessed April 14th 2010.
Nitsche D., Conceptual – Fine Art Photography, 2002-2009, Available at :
<http://www.davenitsche.com/>. Accessed April 10th 2010.
NoPhoto – Collectivo de fotografia contemporánea. Available at :
<http://www.nophoto.org/>. Accessed April 10th 2010.
PH74 – Fotografía contemporánea ejemplares de edición limitada. Available at : <http://www.ph74.com/index-es.htm>. Accessed April 11th 2010.
Panoptikon : on Contemporary Visual Culture, 2010. Available at : <http://panoptikon.net/>. Accessed April 15th 2010.
Pfrunder P., Gotthard Schuh – une approche amoureuse, in Actuphoto, 2009-07-28. Available at : <http://www.actuphoto.com/10831-gotthard-schuh-une-approche-amoureuse.html>. Accessed April 11th 2010.
Soutter L. The photographic idea : reconsidering conceptual photography, Afterimage, March-April 1999, 10 pages. Available at : <http://findarticles.com/p/articles/mi_m2479/is_5_26/ai_54421750/>. Accessed April 14th 2010.
V&A Exploring Photography – Contemporary. Available at : <http://www.vam.ac.uk/vastatic/microsites/photography/theme.php?themeid=th005>. Accessed April 10th 2010.
Sunday, April 18, 2010
Note and more images
Note about Deambúlaciones Nocturnas
I doubt that presenting my final Project on my journal gives justice to my work. There would have been many better ways to present it. I have a lot of sound material that I could have used to do a multimedia presentation, but the fact is that I´m in the middle of the jungle and the Internet is so slow that I barely can upload each photo individually. I apologize in advance for the lack of originality of the presentation and I thank you for your comprehension.
I post here some more images taken for the project that I ended up not using.
I doubt that presenting my final Project on my journal gives justice to my work. There would have been many better ways to present it. I have a lot of sound material that I could have used to do a multimedia presentation, but the fact is that I´m in the middle of the jungle and the Internet is so slow that I barely can upload each photo individually. I apologize in advance for the lack of originality of the presentation and I thank you for your comprehension.
I post here some more images taken for the project that I ended up not using.
Saturday, April 17, 2010
Rethink Photography
Rethink Project Proposal
Deambulaciónes Nocturnas
Arianne Clement
Context: in Colombia, the development of a consumer society has led to a rapid escalation in the amount of material that is thrown away. The informal salvaging of garbage represents a profitable solution to the problems caused by a high rate of unemployment, waste disposal systems and environmental pollution. Despite the controversy surrounding the work of a recycler, this occupation nevertheless plays an important role in the economy of the country. Even though it is not feasible to determine the exact number of recyclers in Bogotá, we do know that a significant number of families in fact depend on this type of activity for their survival.
I encountered Ben one evening while strolling in the Barrancas District, a popular locale north of the city of Bogotá in Colombia. He approached me trying to sell a plastic doll’s head that he had found someplace in the neighbourhood that same evening. Like thousands of people in Bogotá, Ben searches for objects discarded by others in order to bring home a few pesos. He walks along the railway, rummages through garbage bins and scans the ditches looking for objects that might have some street value.
We conversed and Ben promptly confided in me with sincerity and candour. He shared his past, anecdotes, songs and jokes with me. This man kindled in me an interest much more for his simplicity than for the social and political questions raised by his occupation. He enthusiastically agreed to let me take a portrait photograph of him as well as to record our conversation. We wandered through Barrancas for the better part of the night while trying to sell with no success the doll’s head to the rare passersby that we met on that rainy evening.
Through my photographs, I wanted to show the closeness that I shared with Ben and to demonstrate my fascination with this simple, noble and sometimes crazy man who lives his modest life to the absolute fullest. Through this project, I attempted to appeal to the senses and the emotions to depict the everyday life of a generally happy man who carries out an occupation that many people would consider degrading.
I photographed Ben and his nocturnal environment by using simple photographic techniques such as long exposure, maximum ISO and subject out of focus. This allowed me to slightly manipulate reality in order to emphasize expression. I attempted, through the aesthetic composition of my images, to express the emotional weight that best represented my subject, while trying to retain a degree of subtlety to keep the images open to interpretation.
When titling my images, I used themes that Ben raised over the course of our discussions. I used key words that reflected Ben’s observations and I linked them almost randomly to my images to increase the complexity of his character and to expand the possibilities of interpretation.
Deambulaciónes Nocturnas on the one hand pique inquiry about the pictorial tradition of the documentary portrait. At the same time they also invite the spectator to lose himself in his imagination someplace in the expressionist world where feelings dominate the milieu.
Deambulaciónes Nocturnas
Deambulaciónes Nocturnas
Arianne Clement
Context: in Colombia, the development of a consumer society has led to a rapid escalation in the amount of material that is thrown away. The informal salvaging of garbage represents a profitable solution to the problems caused by a high rate of unemployment, waste disposal systems and environmental pollution. Despite the controversy surrounding the work of a recycler, this occupation nevertheless plays an important role in the economy of the country. Even though it is not feasible to determine the exact number of recyclers in Bogotá, we do know that a significant number of families in fact depend on this type of activity for their survival.
I encountered Ben one evening while strolling in the Barrancas District, a popular locale north of the city of Bogotá in Colombia. He approached me trying to sell a plastic doll’s head that he had found someplace in the neighbourhood that same evening. Like thousands of people in Bogotá, Ben searches for objects discarded by others in order to bring home a few pesos. He walks along the railway, rummages through garbage bins and scans the ditches looking for objects that might have some street value.
We conversed and Ben promptly confided in me with sincerity and candour. He shared his past, anecdotes, songs and jokes with me. This man kindled in me an interest much more for his simplicity than for the social and political questions raised by his occupation. He enthusiastically agreed to let me take a portrait photograph of him as well as to record our conversation. We wandered through Barrancas for the better part of the night while trying to sell with no success the doll’s head to the rare passersby that we met on that rainy evening.
Through my photographs, I wanted to show the closeness that I shared with Ben and to demonstrate my fascination with this simple, noble and sometimes crazy man who lives his modest life to the absolute fullest. Through this project, I attempted to appeal to the senses and the emotions to depict the everyday life of a generally happy man who carries out an occupation that many people would consider degrading.
I photographed Ben and his nocturnal environment by using simple photographic techniques such as long exposure, maximum ISO and subject out of focus. This allowed me to slightly manipulate reality in order to emphasize expression. I attempted, through the aesthetic composition of my images, to express the emotional weight that best represented my subject, while trying to retain a degree of subtlety to keep the images open to interpretation.
When titling my images, I used themes that Ben raised over the course of our discussions. I used key words that reflected Ben’s observations and I linked them almost randomly to my images to increase the complexity of his character and to expand the possibilities of interpretation.
Deambulaciónes Nocturnas on the one hand pique inquiry about the pictorial tradition of the documentary portrait. At the same time they also invite the spectator to lose himself in his imagination someplace in the expressionist world where feelings dominate the milieu.
Deambulaciónes Nocturnas
Exercise 5
About all Colombians are adherents of Roman Catholicism, the Colombia´s official religion. The Catholic Church is powerful in the country and is present in nearly every aspect of the society. It has a leading and authoritative role in the community and has a great influence in the government. Religious freedom is guaranteed by the constitution, but the role of non Catholics is small. There is a tiny proportion of protestants and Jewish. A few Indigenous groups also practice their traditional religions (such as shamanism) in remote areas. I went to Bogota during Eastern in order to visit some friends. There were constant activities in the streets related to the catholic faith, which were very interesting to experience and photograph. A procession during the night seemed like a good opportunities to continue my “Rethink” research. The photos are aesthetically interesting but very clichés. I´m always uncomfortable with religious photographs: the catholic symbols are so strong that the images cannot help but lacking subtlety.
Exercise 4
Ayahuasca ceremony in the Brazilian Amazons
Ayahuasca ceremony in the Brazilian Amazons
Unfortunately, the shamanic ceremony was executed with no source of light whatsoever so all of my images ended up completely dark, even with a 2 minutes exposure. The experience was interesting thought. About 25 participants were reunited in a traditional indigenous house in the jungle. I was the only foreigner but I know that these ceremonies attract more and more tourists. They drank a mixture made of Ayahuasca, a powerful hallucinogenic plant used by the shamans to heal both physical and spiritual diseases http://www.singingtotheplants.com/what-is-ayahuasca/.
The shaman covered every participant 30 Brazilian reais (17 US), a pretty good amount of money considering that the minimum wage in Brazil is 2.64 reais (1.5 US) an hour. I noticed that a very young child drank the mixture as well.
It was hard to understand what people were going through as I didn´t drink the mixture myself, but it was obvious that they were in a state of trance. I recorded the songs of the shaman which were accompanied by the sounds of the participants moaning and vomiting. I am not able to upload it on the Internet because the signal is too low here in the Amazons but I found a sound record with a similar song on Youtube in case you are curious: http://www.youtube.com/watch?v=isskACmm7N0
It was hard to understand what people were going through as I didn´t drink the mixture myself, but it was obvious that they were in a state of trance. I recorded the songs of the shaman which were accompanied by the sounds of the participants moaning and vomiting. I am not able to upload it on the Internet because the signal is too low here in the Amazons but I found a sound record with a similar song on Youtube in case you are curious: http://www.youtube.com/watch?v=isskACmm7N0
I left the ceremony pretty early and walked from Brazil to Colombia, taking some pictures on the road anyway in order to have some material to show.
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