At the end of the 1970s, a time still dominated by a documentary or instrumental conception of photography, Jean-Marc Bustamante bursted in with a particular kind of work that as an intermediate space that, independently of its material nature, aspires to spark off intellectual processes for the spectator.

The new prescriptions of mobility, speed and immediacy imposed by the forms of contemporary life and the new technologies have profoundly modified our perception and experience of time.

The photography and the moving image, working sometimes as a document, sometimes as a concept, or sometimes occupying the spaces between them, have become a territory that is favourable for exploring reflexively both our way of being in the world and the new semi-autonomous status of the photographic medium.

Maybe it is the idiosyncrasies of Helga’s way of seeing things, special and passionate, that makes her collection on paper so forceful. Because paperis somewhat fragile, on the point of slipping away. There is something of a love letter, those that are blown away and reach their recipients like the kisses, as mentioned by Kafka in Letters to Milena,