At the end of the 1970s, a time still dominated by a documentary or instrumental conception of photography, Jean-Marc Bustamante (Toulouse, 1952) bursted in with a particular kind of work that demanded an artistic place for photography. Despite being considered by many as a pioneer in this field, the artist does not define himself as a photographer, or a painter or sculptor, despite the importance that these disciplines have in his oeuvre. He considers his work to be an intermediate space that, independently of its material nature, aspires to spark off intellectual processes for the spectator.
With the title Transitory Spaces, this exhibition brings together a rich and diverse group of works belonging to the Helga de Alvear Collection, which makes it possible to cover some of the most important moments of a body of work that rejects any narrative or illusory intention and acts as a revealing element.
To do this, a transitory state is employed that affects the subject of his images. This is clearly visible in his first Tableaux, “slow snapshots” that take limit-spaces between the urban and the natural sublime at a moment of change, and are presented devoid of any human presence but full of its vestiges and impressions; in the geographical vagueness of the urban views of the Something is Missing series, where humanity is made visible; or in the situation of the lake as a monochrome plane that thwarts verticality and restores abstraction in the very heart of hyperrealism in the L.P. series.
This being between is affirmed from a material point of view. So, while the specific nature of the photographic in his series Tableaux, S.i.M. and L.P. is articulated from a pictorial conception, the spontaneous pictorial gesture is presented in his Panoramas on methacrylate with the distance imposed on them by a mechanical process, and sculpture is conceived as a place in his Tables. Meanwhile, with a kind of intertextuality, the works echo each other. The centreless photographic compositions dilate and disperse our gaze which, on its way, draws a network of lines of force that recall the tangled abstract compositions of his Panoramas; photographic precision confronts the vague nature of the subject represented; the geometric merges with the organic; and the industrial nature of the materials and techniques is a harmonious contrast with the sensuality of candles and the warmth of colour.
And, as a final transitory space, each work is an intermediate space, “without attributes”, between the artist and the viewer –becoming patent in the title Panorama entre-nous–, from which emanates the tension necessary for us to be aware of the act of looking and the work can fully acquire its representative character.
Dates: First trimester. The exposition will be open from September 13, 2014 until January 11, 2015; after which it will close. Projects: GUIDED TOURS We will offer guided tours of the exposition of contemporary photography The Tears of Things. … Read more
Due to May fairs and festival of San Fernando Caceres, the Visual Arts Center Helga de Alvear Foundation will be closed on Friday 30 May. Also note that for the same reason the child workshop of the Saturday May 31 … Read more