Juanele interviews Photographer Eduardo Gil

Now I’m going to ask Eduardo Gil: What is photography? Today this is a question that’s hard to answer.
Ten years ago I could tell you very clearly what photograhy was. Fortunately today, photography has become something wider,
more ambiguous and unstable,with vague edges. Postmodern photography, the photography that came
after Clement Greenberg’s postulates about the limits of art has precisely enabled us to show the world,
an aethetic project or to show oneself, also with the possibility of interacting and exchanging
with other languages employing a photo camera – or not. It’s something very rich and passionate and that always
keeps a connection with the real that photophers love f you’d like to, I can show you some pictures. it’s a moment when there isn’t a clearly-defined investigation yet I am understanding myself with color:
Knowing how it works, experimenting, learning And there is a bit of everything. Q: I’ve the feeling you are increasingly appreciating these experimentations Yes, because they provide a way of finding connections When you put two images side by side, you start to discover where
some investigations are coming from, where a certain way of framing appeared and that’s very useful in order to learn where you
are today and why you came to this point.
This is related to a better thought-out period of
more intentional investigations when I started to work with medium format,
which also involves a decision Here I was already completely familiar with doing color Framings start to find unity, I start to get rid of things that had been essential for me the visual impact, the play with emotions, emphasizing characters People start to disappear, framing becomes austere. I start to detach myself from the artist and begin
to act as a kind of operator who shows what is there “the force of the index, “ somebody would say The framing tries to be aseptic, without emphasis and, well, obviously very influenced by the Düsseldorf
school and all those currents started to interest me very much. And precisely when I search my past I find pictures that are like
precedents of these framings, of this way of making pictures that I hadn’t found a place for in my work before When I did this book, this Docena I found these pictures, these pictures made twelve years ago. I found these framings, well these not so
much, but there are very clear precedents here These were pictures I’ve taken ten, eight and twelve years ago but these kind of framings didn’t belong in my work These are different places that I start to associate with in the editing. But, well, here and in other projects,
I start to discover where this frontality comes from this detached investigation and, well,
it’s related to things I did without knowing why. This is the work I am doing now, entitled Aporías It’s about images related to an idea of a great country,
a greatness that never happened. Places that were important or that had an aim, a possibility
of creating and producing, but today they are closed. This, for instance, was a huge meat processing plant in Patagonia that used to provide
the whole Latin America and is now closed. This is a much broader project.
“Aporías” is a philosophical term that involves t
alking about things that have no answer This is a part of Aporías, a kind of movement in a symphony, that I call Marcas (Marks) They are related to getting close to these industrial places;
these are traces of what there is and there was. I think I can see here a kind of somebody who is shouting,
that wants to get out from under the peeled pain Disturbing images start to appear.
Here is also a part where I play with numbers, marks that had different aims, industrial uses; They finish very darkly. it’s very powerful to pass from a Bressonian style like your first pictures You’ve passed on to this work that’s abstract.
Anyway there is a very strong formal investigation in both aesthetics. That’s why I’m interested in showing my developments, because it allows
me to find this change, I don’t know if I can call it evolution, but change. One thing I propose and try to always suggest is the
need to question oneself permanently, the reflection about the practice, what you do.
To be able to make an effort each day, not simply be satisfied with what you’ve accomplished,
but to try to reach a higher complexity every day. I think at the beginning you are a bit naïve and then unfortunately
– unfortunately because at the beginning you enjoy it all you like everything, everything’s fantastic, you are happy when a picture’s sharp But then you start to complicate and you start to understand and to study and, well,
interesting things start to turn up every now and then, very loosely So this generates a need to reflect, think and further think and
further reflect and question much deepe And when you start to do something that is enthusiastically
welcome and liked or that is kind of successful, then comes a moment of great danger when the
artist can say “this is my thing” and stay there. That’s lethal. For art in general, certainties are lethal. This idea of going from a format to another, from one investigation to another. Is it enough to provoke an emotion? Is it enough when people
feel attracted by the visual? Is it enough and for whom? There are things that are enough and people love
it and that’s very gratifying, narcisism feels nurtured but that’s not enough for myself. The first to demand change is me And that’s the need, to go always deeper And that involves risks as well, because you can take
the wrong decision, but, well it’s risk. If you don’t take it, you would do always the same. Yes, there is a clear change and I hope
I can always go on changing, obviously.

Posts created 2006

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