h-a Por Aldo Enrici
Opacak and Hammar.They have held two very similar pictures of the southern Patagonian plains with a background in which they appear to landscape elements outside. In both cases these means of transport. In one is a cargo train, a bus in another passenger. Both in the Patagonian steppe. One black and white and other colors. There is something in common however, is that human and technical means of photography, both bus and train, are at the bottom of the landscape, an accident that disrupts the plain. In both cases there is no close-up of the machines.On the other hand is much closer and leading printing the plain with wiry, like a monotonous plain, without interruption. In the case of the train, as the image is in color, dry grassland has shiny gold, illuminating the griseada general, even the train, which is dark, so dark that the cars seem emanating from an initial melting the bottom plateau. Nothing can hold at that depth from the initial heating to the back pasture for the shadows black children between the gentle slopes, within a continuum between the technical and the desert. Perhaps in that situation technically not resist infinity, as if the train was destined to disappear, to merge again, after decomposition of color.The decomposition is typical of Patagonia. Seniority is clear, nothing seems new, on the contrary, everything seems to filing, especially the hills and worn vehicles in both tables. No spatial limits, no historical limits, archaeologists and paleontologists speak of millions of years old, of sauropod dinosaurs whose fossilized eggs, carrion operated by communities, such as spiders, beetles and other creatures inhabit, also fossilized, decaying organic matter .
The time can be recognized in what remains. This happens in both situations, including both pictures may be associated. In the first, for Victoria Hammar, the train is moving, there is color, irregular horizon very flat plateaus in the wind. In the second photograph, for Andriana Opacak, no color or no heaven, nor is the plateau, which no longer appears. The horizon is typical of a sea, the desert has the linear characteristic of the empty horizon, lack. But another machine interrupts the horizontal line, a bus without wheels. Not only no wheels, but no glass, no seats, totally abstract, geometric, as is the paint Neolithic. Not even light, like a figure cut and pasted on the bottom of the clouds.
Is geometrically a bus, but is not meeting its target of transfer. But the weather displays on its history. Surely the bus has been removed along the story as if he'd run crucial elements had left the minimum to be recognized. It is complex to explain how he got there the vehicle, which occupies the center of the image, implemented as the only possible obstacle on an infinite territory, as a constraint in itself the history of Patagonia.
This story leads us to the archeological destination of the living reality and mover. The Farmer's integration into the earth, unity with the historical background does not stop this bus, traveling and not forward it to the inside of the Patagonia, leaving swallowing, has been swallowed even in part, at the moment. We imagine the privilege of recognizing this form before a fossil, because at some point will be. The lack of humanity or the humanity of its structure remains and ask us how are we to find it again, it may be increasingly under the earth.Both photographs determine a sequence next time it is not difficult to glimpse where the next thing is the last to be recognized in the figures increasingly consumed by the machines on earth. Someone recognize that figure, as they recognize scrapers glass, or other element made of zinc, or cement, or any material different, distinguishable from the flat sensation of such image. The figure will be lost even going to lose formal, except specialists, no longer recognizable.This situation marks especially the phenomenology of both photos. There are pictures of trains or buses, but the vastness photos, photos of the sublime, or photos where the scenery is sublime and dismounting for a possible positive identity. The photographs show the way of dispossession or negative holding both amazed Darwin. But at some point these objects will be converted into lines which shall be repaid to the basic lines of the desert.
We say then that has been captured by artists and abstract geometric idea that acquire the two devices at the bottom of the plain, ceasing to be representations to be features of a text. It may not be possible otherwise be left to say to Patagonia to do that objects become signs that bring their colors to the environment. We're definitely appreciate how the Patagonia steppe has invited two artists to confine two symbols industrial mechanics and mass public transport, given the scale never completely decipherable Patagonian landscape, which is appreciated in a cut that shows the depth from which you can see, as if we saw a river or a tree. Nothing can change so much depth that is most impressive, as it sinks to get lost in the same color or the same horizon.
The landscape now invites an adventure without conquests surface, although its underground wealth is unique and extremely desirable. The biodiversity and unique ecosystems require protection with every advance of human presence. The increase in tourism exclusive, world-class sites gradually leads to the rediscovery of the region, increasingly expanding landscape offers.Art objects (specifically the paint), says Maurice Merleau Ponty, our eyes stop the questioning. We call a value judgment to manifestársenos a certain way. Is that painting is not a mere copy of the world but a world in itself. A painting is like a small world we can see in just a moment, "his goal is never to evoke the object itself but on the fabric make a show, entire of itself" (Merleau Ponty, 1985).Phenomenology is revealed as the description that accesses the reality of things which supplies the perception, together with a horizon where the thing is given, because the perception of a thing is its perception in a visual field context. The representations we have of things are in a continuous ligand temporary formation. The Patagonian landscape allows immemorial remember who experiences them. It also allows delineation of the depth steppe, as though it were a concavity deepens the horizon, and as a strong presence that can be seen, although the appearance is vacuum or monotony.
Opacak and Hammar.They have held two very similar pictures of the southern Patagonian plains with a background in which they appear to landscape elements outside. In both cases these means of transport. In one is a cargo train, a bus in another passenger. Both in the Patagonian steppe. One black and white and other colors. There is something in common however, is that human and technical means of photography, both bus and train, are at the bottom of the landscape, an accident that disrupts the plain. In both cases there is no close-up of the machines.On the other hand is much closer and leading printing the plain with wiry, like a monotonous plain, without interruption. In the case of the train, as the image is in color, dry grassland has shiny gold, illuminating the griseada general, even the train, which is dark, so dark that the cars seem emanating from an initial melting the bottom plateau. Nothing can hold at that depth from the initial heating to the back pasture for the shadows black children between the gentle slopes, within a continuum between the technical and the desert. Perhaps in that situation technically not resist infinity, as if the train was destined to disappear, to merge again, after decomposition of color.The decomposition is typical of Patagonia. Seniority is clear, nothing seems new, on the contrary, everything seems to filing, especially the hills and worn vehicles in both tables. No spatial limits, no historical limits, archaeologists and paleontologists speak of millions of years old, of sauropod dinosaurs whose fossilized eggs, carrion operated by communities, such as spiders, beetles and other creatures inhabit, also fossilized, decaying organic matter .
The time can be recognized in what remains. This happens in both situations, including both pictures may be associated. In the first, for Victoria Hammar, the train is moving, there is color, irregular horizon very flat plateaus in the wind. In the second photograph, for Andriana Opacak, no color or no heaven, nor is the plateau, which no longer appears. The horizon is typical of a sea, the desert has the linear characteristic of the empty horizon, lack. But another machine interrupts the horizontal line, a bus without wheels. Not only no wheels, but no glass, no seats, totally abstract, geometric, as is the paint Neolithic. Not even light, like a figure cut and pasted on the bottom of the clouds.
Is geometrically a bus, but is not meeting its target of transfer. But the weather displays on its history. Surely the bus has been removed along the story as if he'd run crucial elements had left the minimum to be recognized. It is complex to explain how he got there the vehicle, which occupies the center of the image, implemented as the only possible obstacle on an infinite territory, as a constraint in itself the history of Patagonia.
This story leads us to the archeological destination of the living reality and mover. The Farmer's integration into the earth, unity with the historical background does not stop this bus, traveling and not forward it to the inside of the Patagonia, leaving swallowing, has been swallowed even in part, at the moment. We imagine the privilege of recognizing this form before a fossil, because at some point will be. The lack of humanity or the humanity of its structure remains and ask us how are we to find it again, it may be increasingly under the earth.Both photographs determine a sequence next time it is not difficult to glimpse where the next thing is the last to be recognized in the figures increasingly consumed by the machines on earth. Someone recognize that figure, as they recognize scrapers glass, or other element made of zinc, or cement, or any material different, distinguishable from the flat sensation of such image. The figure will be lost even going to lose formal, except specialists, no longer recognizable.This situation marks especially the phenomenology of both photos. There are pictures of trains or buses, but the vastness photos, photos of the sublime, or photos where the scenery is sublime and dismounting for a possible positive identity. The photographs show the way of dispossession or negative holding both amazed Darwin. But at some point these objects will be converted into lines which shall be repaid to the basic lines of the desert.
The landscape now invites an adventure without conquests surface, although its underground wealth is unique and extremely desirable. The biodiversity and unique ecosystems require protection with every advance of human presence. The increase in tourism exclusive, world-class sites gradually leads to the rediscovery of the region, increasingly expanding landscape offers.Art objects (specifically the paint), says Maurice Merleau Ponty, our eyes stop the questioning. We call a value judgment to manifestársenos a certain way. Is that painting is not a mere copy of the world but a world in itself. A painting is like a small world we can see in just a moment, "his goal is never to evoke the object itself but on the fabric make a show, entire of itself" (Merleau Ponty, 1985).Phenomenology is revealed as the description that accesses the reality of things which supplies the perception, together with a horizon where the thing is given, because the perception of a thing is its perception in a visual field context. The representations we have of things are in a continuous ligand temporary formation. The Patagonian landscape allows immemorial remember who experiences them. It also allows delineation of the depth steppe, as though it were a concavity deepens the horizon, and as a strong presence that can be seen, although the appearance is vacuum or monotony.
