DIMPY BHALOTIA
Poche, pochissime erano le foto in casa di Henri Cartier-Bresson; una, forse due. Una, per cui il grande fotografo aveva una vera e propria ammirazione, era “Three Boys at Lake Tanganika” di Martin Munkácsi. Tre ragazzini immortalati di spalle che sprigionano un’incontenibile vitalità mentre corrono verso le acque del lago. Perché Cartier-Bresson amava quella fotografia? Perché, come ha detto lui stesso: “Ho capito improvvisamente che la fotografia può fissare l’eternità in un momento”. Osservando la fotografia “Flying Boys” di Dimpy Bhalotia, e con la quale si è aggiudicato il Female in Focus Award 2020 del British Journal of Photography, sembra che i tre ragazzini di Munkácsi siano tornati dopo un viaggio lungo novant’anni. Di più, pare che siano tornati per spiccare il volo e catturati nel preciso momento in cui occhio, cuore e mente del fotografo sono perfettamente allineati come una costellazione lontana. C’è, nelle fotografie della giovane indiana di Londra, qualcosa che arriva da una precisa tradizione fotografica e che àncora saldamente la composizione a quelle tre fondamentali componenti cui si faceva cenno, orientandola verso la ricerca del momento in cui un episodio umano – e non solo – ha la capacità di espletare il suo senso. Irripetibilmente. I riferimenti non mancano, e sono segno di una solida cultura visiva. Quanto guardiamo nelle fotografie di Dimpy Bhalotia sembra fuoriuscire da un racconto riscritto con nuove parole, nuovi cenni ma fermamente determinato a essere interpretato attraverso un lessico che costringe a sostare nello spazio citazionista giusto il tempo che occorre prima di assumere una vita propria. E questa sottile e aggraziata visione delle cose che plana sugli avvenimenti, ha quel respiro che sta dentro in una visione poetica della vita, perché per scattare fotografie che sappiano restituire la bellezza d’un gesto occorre amare la vita e i suoi interpreti. Ecco che uomini e animali, colti singolarmente o al crocevia della reciproca interazione, ci appaiono come soggetti appena involontariamente dialoganti ma che, a ben guardare, sono catturati nell’esatto momento di un dialogo segreto. La forza delle fotografie di Dimpy Bhalotia viene da lontano e dunque è ben strutturata. E si vede soprattutto nell’azzardo di forme, nella scommessa formale giocata sul corpo dei soggetti animali, da cui, in altre circostanze, cogliamo una felice traccia surrealista, un terreno ideale nel quale risolvere talune spericolatezze compositive. Il lavoro di Dimpy Bhalotia sosta alla confluenza di due differenti correnti fotografiche: l’umanesimo e il surrealismo (lo stesso Cartier-Bresson sperimentò un delicatissimo surrealismo prima di fondare la Magnum), maneggiati entrambi con disinvoltura e sicurezza. La sua è una voce limpidissima, minimale. Le composizioni obbediscono al comandamento d’essere rigidamente impostate su un registro essenziale, al limite del calligrafico, ma la sobrietà ci convince del risultato. Il solco della tradizione è tracciato, ma seguirne il percorso senza aggiungere le proprie impronte è come non averci camminato. La fotografia è un libro che non finisce mai di essere scritto, a patto d’avere qualcosa da dire. Come in questo caso.
Giuseppe Cicozzetti
foto Dimpy Bhalotia
https://www.dimpybhalotia.com/
DIMPY BHALOTIA
Few, very few were the photos in Henri Cartier-Bresson's house; one, maybe two. One, for which the great photographer had a real admiration, was Martin Munkácsi's “Three Boys at Lake Tanganika”. Three kids immortalized from behind who release an irrepressible vitality as they run towards the waters of the lake. Why did Cartier-Bresson love that photograph? Because, as he himself said: "I suddenly understood that photography can fix eternity in a moment". Looking at Dimpy Bhalotia's “Flying Boys” photograph, and with which she won the British Journal of Photography's Female in Focus Award 2020, it seems that the three kids from Munkácsi are back after a 90-year journey. What's more, they seem to have returned to take flight and captured at the precise moment when the photographer's eye, heart and mind are perfectly aligned like a distant constellation. There is, in the photographs of the young Indian woman based in London, something that comes from a precise photographic tradition and that firmly anchors the composition to those three fundamental components mentioned, orienting it towards the search for the moment in which a human episode - and not alone - has the ability to carry out its meaning. Unrepeatable. There’s no shortage of references, and they are a sign of a solid visual culture. What we look at in Dimpy Bhalotia's photographs seems to come out of a story rewritten with new words, new hints but firmly determined to be interpreted through a lexicon that forces us to pause in the quotationist space just the time it takes before taking on a life of its own. And this subtle and graceful vision of things that hovers over events, has that breath that lies within a poetic vision of life, because to take photographs that are able to restore the beauty of a gesture, you need to love life and its interpreters. Here men and animals, caught individually or at the crossroads of mutual interaction, appear to us as subjects that are barely involuntary in dialogue but who, on closer inspection, are captured in the exact moment of a secret dialogue. The strength of Dimpy Bhalotia's photographs comes from afar and therefore is well structured. And it is seen above all in the balancing of forms, in the formal bet played on the body of animal subjects, from which, in other circumstances, we grasp a happy surrealist trace, an ideal terrain in which to resolve certain compositional recklessness. Dimpy Bhalotia's work stops at the confluence of two different photographic currents: humanism and surrealism (Cartier-Bresson himself experienced a very delicate surrealism before founding Magnum), both handled with ease and confidence. Her is a very clear, minimal voice. The compositions obey the commandment to be rigidly set on an essential register, bordering on calligraphic, but the sobriety convinces us of the result. The groove of tradition is traced, but following its path without adding one's footprints is like not having walked through it. Photography is a book that never stops being written, as long as you have something to say. As in this case.
Giuseppe Cicozzetti
ph. Dimpy Bhalotia
https://www.dimpybhalotia.com/
同時也有1部Youtube影片,追蹤數超過134萬的網紅Point of View,也在其Youtube影片中提到,อ้างอิง - Brasseur, L. (2005). Florence Nightingale’s Visual Rhetoric in the Rose Diagrams. Technical Communication Quarterly, 14(2), 161–182. https:...
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journal of visual culture 在 方志恒 Brian Fong Facebook 的最佳貼文
【#香港研究推介】
曾經旅居香港的法國學者Sebastian Veg,剛剛在《Journal of Asian Studies》發表了一篇期刊文章,分析雨傘運動的各種文本和視覺資料(Textual and visual materials)。
Sebastian Veg在雨傘運動期間,多次走訪各佔領區,記錄了超過一千件各式各樣的政治標語、海報、圖像、藝術品等等,然後再進行內容分析,整理了佔領區的幾個主要訴求,包括民主(例如勿忘初衷爭取民主、民主是站起來爭不是跪下來求的)、自主自決(例如命運自決花開遍地)、香港人身份(自己香港自己救、香港歷史由香港人編寫)等等。文章也有討論常在佔領區出現的流行歌曲(例如海闊天空、光輝歲月),以及各種公共空間活動。
這篇文章很全面地記錄了雨傘運動的公共空間面向,值得一讀。
全文:http://journals.cambridge.org/abstract_S0021911816000565
〈Creating a Textual Public Space: Slogans and Texts from Hong Kong's Umbrella Movement〉
Abstact:
Hong Kong's Umbrella Movement (September–December 2014) represented a watershed in Hong Kong's political culture and self-understanding. Based on over 1,000 slogans and other textual and visual material documented during the movement, this study provides an overview of claims, which are oriented towards an assertion of agency, articulated at different levels: in a universalistic mode (“democracy”), in relation with a political community (Hong Kong autonomy and decolonization), and through concrete policy aims. At the same time, slogans mobilize diverse cultural and historical repertoires that attest the hybrid quality of Hong Kong identity and underscore the diversity of sources of political legitimacy. Finally, it will be argued that by establishing a system of contending discourses within the occupied public spaces, the movement strived to act out a type of discursive democracy. Despite the challenges that this discursive space encountered in interacting with the authorities and the public at large, it represented an unfinished attempt to build a new civic culture among Hong Kong's younger generation.
#香港研究 #香港研究學院 #學術期刊 #雨傘運動 #佔領運動 #佔領區 #公共空間
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journal of visual culture 在 Point of View Youtube 的最讚貼文
อ้างอิง
- Brasseur, L. (2005). Florence Nightingale’s Visual Rhetoric in the Rose Diagrams. Technical Communication Quarterly, 14(2), 161–182. https://doi.org/10.1207/s15427625tcq1402_3
- Crimean War. (n.d.). National Army Museum. https://www.nam.ac.uk/explore/crimean-war
- Eight little-known facts about Florence Nightingale. (n.d.). The History Press. https://www.thehistorypress.co.uk/articles/eight-little-known-facts-about-florence-nightingale/
- Fletcher, Z. B. (2020, May 12). Florence Nightingale: Crimean War Heroine. HistoryNet. https://www.historynet.com/florence-nightingale-crimean-war-heroine.htm
- Florence Nightingale. (n.d.). Florence Nightingale Museum London. https://www.florence-nightingale.co.uk/florence-nightingale-biography/
- Nightingale Ward Concept. (2011, May 14). Health Architecture. http://healtharchitecture.wikifoundry.com/page/Nightingale+Ward+Concept%3A
- Selanders, L. (n.d.). Florence Nightingale | Biography & Facts. Encyclopedia Britannica. https://www.britannica.com/biography/Florence-Nightingale
- Showalter, E. (1981). Florence Nightingale’s Feminist Complaint: Women, Religion, and “Suggestions for Thought.” Signs: Journal of Women in Culture and Society, 6(3), 395–412. https://doi.org/10.1086/493814
- The National Archives. (2021, March 25). Florence Nightingale. https://www.nationalarchives.gov.uk/education/resources/florence-nightingale/
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The Journal of Visual Culture is an international, refereed journal, indexed by the Institution for Scientific Information (ISI) and awarded an 'A' by the ... ... <看更多>
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Oct 10, 2012 - Journal of Visual Culture is an international, refereed journal which brings together work from a range of methodological positions, ... ... <看更多>