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Os fazedores de mundo
O espao ocupado por algum sempre um espao novo, criado
naquele instante. Duas fotograas mostram um coqueiro beira de
um lago. o mesmo coqueiro? Mesmo se for, ser elemento de um
espao diferente em cada fotograa, pois ocupado por uma pessoa
diferente de cada vez. A experincia de cada um, naquele espao com
o coqueiro, nica.
Na video-instalao E.N. & L.I. Karina Zen explicita essa ideia do
espao que nunca o mesmo. Quantos coqueiros existem naquela
paisagem? Quantos forem as pessoas a vivenciarem aquele espao.
As duas projees de fotograas da dcada de 1950 ora mostram o
coqueiro ocupado por um homem, ora por uma mulher. E eles nunca
se encontram, como nunca se encontram as percepes de mundo de
duas pessoas diferentes ou da mesma pessoa em tempos diferentes.
Passa o tempo, muda o coqueiro, o dela um, o dele outro. O
coqueiro continua l at hoje, em um stio em Brusque, Santa
Catarina. Mas no nenhum dos coqueiros dessas fotograas do
suposto mesmo coqueiro.
Ento isso que chamamos de mundo uma conveno que tenta
unicar experincias mltiplas, distintas. Cada um faz o mundo com
seu corpo, na experincia individual e incompartilhvel de percepo
das coisas. Cada um faz o mundo com seu sopro, moldando-o,
inando-o, fazendo-o ser aquele mundo especco, que se desfar
quando o fazedor de mundo no estiver mais agindo para constituir
mundo. Para o sopro, murcha o mundo. Outros se inam no mesmo
instante.
A paisagem de mundos que existem em paralelo, mundos criados por
corpos diferentes, e que chamamos, no singular, de mundo, como se
fosse nico, intriga Karina Zen, que adota a fotograa e o vdeo, esses
supostos registros mecnicos do real, para investigar a simultaneidade
de mundos. O real talvez seja uma garrafa cheia de mundos, tantos
quantos forem os gros de areia de uma paisagem praiana. No vdeo
Garranha, a paisagem construda com areia colorida derramada
em sua multiplicidade de gros num espao indenido, vazio,
desorganizando a cena tpica do artesanato brasileiro; o casebre
espao-temporal.
Sem nunca sair de sua zona de segurana, sem transitar pelo mundo,
o sujeito sobrevive e cria razes que podem no caber nos espaos
que assume; se h um aparente conforto neste ambiente, h
tambm a possibilidade de morte pela ausncia de espao.
A co permite referir um enredo sobre a vida de cada sujeito
representado na imagem.
JM: A relao do sujeito com a paisagem, alternando a ideia de
encontro e desencontro presente em E.N. & L.I. Para alm da ideia
de arquivo, o encontro fortuito gera uma implacvel sensao de
perda iminente. Pois no encontro h tambm o desencontro.
KZ: As fotos que utilizei para a videoinstalao E.N & L.I, encontradas
em um lbum virtual, foram feitas por rico Zendron em Brusque/SC,
nos anos de 1950. Reconheci a paisagem, pois frequentava este lugar
nos anos de 80 onde o mesmo coqueiro curvo ainda pendia sobre o
lago.
Quando realizei este trabalho, tive a sensao de poder comprimir o
tempo: 1950, 1980, 2013, todos em uma s imagem, o que me levou
a pensar em planos distintos que ocupam o mesmo espao, como se
fossem universos paralelos que, quando se tocam, promovem pontos
de entrada e sada temporais.
A projeo justaposta e alternada me remete ao momento em que a
inspirao encontra a expirao, o lugar onde pode acontecer a
meditao. Naquela brecha na qual o cheio e o vazio suscitam, ao
mesmo tempo, construo e dissoluo. Vida e morte se unem com
a chance de encontrar o que imutvel, permanente, eterno.
A questo do gnero entra neste trabalho como metfora. Assim
como cada inspirao vem seguida de uma expirao e somente na
existncia de ambas possvel a vida, masculino e feminino aqui
representam os opostos que, somados, promovem o inteiro, o que
me faz pensar em plenitude; neste instante onde h a possibilidade
desta fuso, o indivduo assume outra conotao. Ele deixa de ser
fsico para assumir a unidade divina; ali onde o bem e o mal deixam
de existir.
Vista da exposio 30 Arte Par - Ano Trinta, MHEP - Museu Histrico do Estado do Par
Belm, 2011
Aqurio, 2009
Fotograa
20 x 30 cm
Inverses no Aqurio
recorrente na produo recente de Karina Zen uma atitude de
deslocamento de procedimentos e possibilidades tcnicas da
fotograa, invertendo o sentido usual da construo da imagem
fotogrca. Karina concebe contra-dispositivos fotogrcos que
deslocam as imagens do campo estabelecido da fotograa
convencional para um espao de discusso de verdades e
aparncias.
Em Aqurio, Karina registra numa nica abertura de diafragma
dois momentos diferentes no tempo. Tendo como recurso visual
imediato a aproximao por zoom de um mesmo elemento
referencial. O que podemos ver na superfcie de sua imagem a
suspenso desses dois momentos e o espao de tempo entre um
e outro. Nessas imagens, as diferenas entre os elementos visuais
ndice do tempo decorrido no ato de fotografar. Como em
outros trabalhos de Karina, os procedimentos tcnicos so
redirecionados, e conduzidos para operar como instrumentos do
conceito, no sentido de liberar a imagem das convenes do
meio.
//
Fernando Lindote
Aqurio, 2009
Fotograa
20 x 30 cm
Aqurio, 2009
Fotograa
20 x 30 cm
Sobrevida, 2010
Fotograa
80 x 100 cm
Sobrevida, 2010
Fotograa
80 x 100 cm
Procura-se, 2010
Fotograa
Dptico 80 x 80 cm
Retratado, 2010
Fotograa
80 x 65 cm
Retratado, 2010
Fotograa
80 x 65 cm
Imenso, 2008
Fotograa, 80 x 110 cm
Imenso, 2008
Fotograa, 80 x 110 cm
Mundo, 2013
Vdeo
436"
which is the small house by the sea surrounded by coconut trees and
birds, and returns to its primordial state: a shapeless stain of grains,
the material out of which the world is made before it is shaped by a
specic and unique understanding. If we reorganize all those colored
grains, how many more scenes would we be able to create? It
depends on how many people are organizing the stain, applying it
according to concepts of reality.
The vegetable characters of the photography series Dona Morellli Famlia Pereira Dona Jandira live in their own world, those quiet
house interiors where nothing happens. I imagine these interiors
when I pass by a small and unknown town and I see chairs on the
sidewalk. Sitting on one of these chairs there is a world-maker whom
I dont understand. He observes the landscape without going
anywhere, he experiences a time measured by the same seconds that
I measure my world, he apparently inhabits the same space that I
inhabit, but his world is completely dierent from mine.
If we are by a lake, sitting on the same inclined coconut tree, we will
never meet, you and I. Each one of us will be in a specic duration, in
simultaneous worlds that cannot be superposed. Karina Zen believes
in these parallel worlds.
Paula Braga for the exhibition Somatrio dos Meios
//
Josu Mattos: In your video performance entitled Mundo (2013)
there is an individual behind the manifestation of the world, which
is represented in your work by an inflatable planet that later goes
back to its empty state, losing the air that shapes it. What is the
origin of this project? It is worth mentioning here the notion of
self-representation, something that is close to what artist Lia Chaia
did in 2002 in her video Big Bang. However, although there is a
similarity between them, Lia keeps the object in her hands even
during the dissolution. What they have in common is the fact that
the individual is behind the creation of the world, and you decided
to hang the inflatable globes on the wall until the air that makes it
a world was fully released. What is behind this gesture?
Karina Zen: The project was not conceived in a specic moment,
because the representation of the world, by means of either maps or
globes, has been present in my repertoire since childhood. When I
saw myself with an inatable planet on my hands, I realized that I had
enough intimacy with it to create a work.
Two bodies occupy the scene: the globe and I. The inhaled air that
gives me life does not belong to me. I cannot keep it; I have to return
it to the space so that the ow that nurtures my body continues. I
reinforce this idea using the planetary body that, after being full,
becomes empty again.
I also see it as a metaphor for the appropriation of creation, because
what I put in the world does not belong to me; it will be lled by the
eyes of those who see it; it will be seen according to dierent
experiences, lters and concepts. When the space it empty, it is
limited, but the possibility of expansion exists as a result of our
relation with the world.
JM: The idea of a body occupying the scene made me think of O
Sujeito Depois de Esculpido e Fotografado (2009). These works are
not immediately related, but seem to make the same movement
toward aggregating value to the subject-object that receive new
layers of meaning intermediated by different media, such as
photography and sculpture. I also think about the landscape as
individual in Dona Morelli, Famlia Pereira e Dona Jandira (2009). In
all of these cases, the landscape, photography and sculpture may
be seen as strategies to partly hide or reveal the individual.
KZ: When I was making O Sujeito Depois de Esculpido e Fotografado,
I noticed that the revelation of the individual included several levels:
the imaginary of the sculptor, sculpture, photography. The religious
art sculptures in the Museu Arquidiocesano Dom Joaquim, in
Brusque/SC, symbolize a spiritual presence, but to me the object both
animated and seen as subject after the portrait. Something similar
takes place in the video Mundo: an object takes on the role of body in
the video performance. The medium is a fundamental aspect when it
comes to changing the status of the object.
One of the layers of meaning that exist in these works is the parallel
we can make with the revelation of the personality of the individual.
Just as the dierent media form the object, giving a personality to it,
the individual exists based on its relation with the world. The
every-day actions and experiences are part of the individual, and as a
result of the layers of acquired values, it is revealed.
The works Dona Morelli, Famlia Pereira and Dona Jandira would be
only pictures of plants if their title were not the name of the person
who grows them. The individual is represented by his/her plant.
The narrative suggested by these images is located in a domestic
connement rooted in the cultural landscape where they exist. In
Famlia Pereira, the size of the plant supports indicates genealogy; the
size and species of these plants and are related to the roles of father,
mother and son.
The position of the plants in Dona Morelli and Dona Jandira indicates
the habits of the old ladies after who the works are named; the
domesticated landscape is reinforced by means of the painting that
hangs on the wall. The drapes in the window, the shape of the
support give evidence of space-time.
Without never leaving his/her comfort zone, without going out in
the world, the individual survives and establishes roots that may not
t in the spaces he/she takes on; this environment expresses both a
seemingly comfort and the possibility of death due to the absence of
space.
Fiction allows us to infer a plot regarding the life of each individual
represented in the image.
JM: The relation between the individual and the landscape, as well
as the idea of convergence and divergence is present in E.N. & L.I.
Beyond the idea of archive, the fortuitous encounter generates an
inexorable feeling of an imminent loss. Because the divergence
also exists in convergence.
besides an empty bottle and a pile of sand. Until 2008, the year when
the video recording was made, the only support I had experienced
was photography. It was a completely new experience and, just as in
the act of emptying, in which the removal of the image of the world
from inside the bottle was put under the unpredictability of the wind
and the image was transformed, my territory was deconstructed. I
ended up realizing that that bottle enabled me to be dierent from
what I used to be.
//
Inversions in the Aquarium
Karina Zens latest work often presents an attitude characterized by
the displacement of photography procedures and technical
possibilities that inverts the usual meaning of the construction of
photographic images. Karina conceives photographic counter-devices
that displace the images from the established eld of conventional
photography to discuss truth and appearances.
In Aqurio, Karina records in one single opening of the diaphragm
two dierent moments in time. As her immediate visual resource, she
uses the zoom approximation of one single referential element. What
we see in the surface of the image created by the artist is the
suspension of these two moments and the time gap between them.
In these images, the dierences between the visual elements indicate
the time that passed during the act of photographing. As in other
works by Karina, the technical procedures are re-directed and serve
as instruments of the concept, in the sense of setting the image free
from the conventions of the medium.
Fernando Lindote
For the exhibition Aqurio, 2009