Zoom The axis on the Moon | Catalina Juger
Zoom The axis on the Moon | Catalina Juger
Zoom The axis on the Moon | Catalina Juger
Zoom The axis on the Moon | Catalina Juger
Zoom The axis on the Moon | Catalina Juger
Zoom The axis on the Moon | Catalina Juger

The axis on the Moon | Catalina Juger

$19.50
"He took off his body. He took off his body and gave it to the wind. He went far, far away. Excerpt from the poem Autoexilio by Virginia Wood, a Chilean poet. In a society mobilized by the great themes and human vanities, housed above all in The big cities, embodying great conflicts, wars, attacks, perverse economies that disturb human coexistence, we find, probably oblivious to those vicissitudes that we ourselves have fed, four women like perhaps many in the world who decide to approach a particular poetics of the living: that of abandonment, remoteness, introspection, exile or self-exile. Pioneers of living in solitude, a syndrome of the end times, who leave the community or family to live only with their own and perhaps enough existence. not always friendly geography and a climate that cultivates temperament, intersect with their stories. Sky, ocean, forests, rugged hills and various utensils are images that they are part of the landscape with which they coexist, four women in their space and temporality.idad.

The story about these women is enriched and acquires a new and different dimension when we make a construction and a narrative from our imaginary. This becomes disturbing when we realize that behind that apparent reality that we perceive and interpret is the photographer, who, at the same time, gives us a meaning of that. We can think of an apparent objectivity, but we will soon realize that we are in front of a virtuous triangulation, the presence of a kind of complex subjectivities.
Fact and fiction are confused in these four pieces of evidence. Photography, since its discovery, has had a strong roots in the landscape, travel and portraiture, considered as primitive experiences of photographic practices, coming to replace and expand, in the 19th century, those of painting and drawing. Travel, genre, territory and portrait are part of the readings that we can combine, trying to understand a singular narrative. We have characters with an emphasis on the elements with which they relate day by day and images resolved from an aesthetic inspired by certain photographic traditions. It is not by chance either, that in this work the protagonists are women of very adult ages and who live alone, which brings to the table issues that are not lacking in actuality and contingency. I could say, in short, that it is explored in portraying these characters in a particular and no less political way. If we think about portraying and that every portrait and every form of photography is also a form of self-portrait, we are in front of an author who is photographing herself. These women, in those four geographical points, in that context of landscapes and objectualities that are a superlative part of the work, become the excuse to shape a work that surpasses the evidence of the record. They are the women of the story and their context reflected as evidence, but being only appearance, Catalina Juger's pretext to articulate her fiction, from her skill with the device and her committed gaze. Contrary to what history has instilled in us, photography belongs to the realm of fiction much more than that of evidence. Photography is pure invention. All photography. Without exceptionsJoan Fontcuberta, The kiss of Judas, Editorial Gilli, 1997. Héctor López Espinoza Chilean photographer "eno)"

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The axis on the Moon | Catalina Juger

$19.50