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/
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[FEATURE] Descendant of #British diplomat #Swinhoe travels back in time
By Joseph Yeh, CNA staff reporter
For biology lovers in Taiwan, Robert Swinhoe (1836-1877) is arguably the most famous name in the island's history, as one can literally find his name in hundreds of indigenous animals, birds and insects.
There's Odorrana swinhoana, a species of frog, Nesiohelix swinhoei, a kind of land snail, and Rusa unicolor swinhoei, the Formosan sambar deer, to name just a few.
All told a staggering 227 species of birds, nearly 40 species of mammals, 246 species of plants, over 200 species of terrestrial snails and freshwater malacofauna, plus over 400 species of insects, were named or systematically categorized by Swinhoe, according to Taiwan's National Museum of Natural Science.
It's a legacy that has carved out a special place for Taiwan in the world's biological history.
To Christopher Swinhoe-Standen, the name Swinhoe has an even deeper meaning because he is Swinhoe's "first cousin four-times removed," and he recently concluded a trip to Taiwan in search of his ancestor's footprints.
Speaking to CNA in a phone interview Monday, the 58-year-old Swinhoe-Standen said that while he never came across Swinhoe's name in U.K. textbooks, he grew up hearing the story of his ancestor from his mother, the family's historian.
Among the stories his mother told him were those involving Swinhoe's adventures in Asia, where he mostly lived from 1855 to 1875.
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▲▲ VOP 新 刊 發 行 ! ▲▲
Voices of Photography 攝影之聲
Issue 8 : 物件夢遊 Trance Amongst Objects
為什麼觀看「物」? 攝影給予我們一個凝視的機會,將物件從生活的脈絡抽離、放大,使我們對日常物質的注目,建構為一個新的物語。我們的目光在物件裡探索,或在物件裡迴避,似是更為貼近,似又更為疏離。
在這期的《攝影之聲》中,陳曉雲以虛構的《墜枯錄注》文集,在擺弄枯枝與標題文字的影像文本(image-text)裡,展開意義追探的遊戲 ; 蔣志寄情於引火的花木,燒出一封封稍縱即逝的情書私語 ; 岸幸太撿拾路邊的廢棄物重新造相,拼貼出物相與物的對話 ; 陳維則將日常物件作為一個沉默劇場,演示物件在日常裡的非日常。
本期的Artist's Showcase,特別介紹攝影家菊地智子,在甫獲木村伊兵衛攝影獎的「I and I」系列中,她長年紀錄中國變裝皇后(drag queen),以攝影觸碰當代中國壓抑敏感的性意識問題。此外本期的Q單元,我們也專訪日本攝影評論家飯澤耕太郎,暢談攝影評論的角色觀點 ; 並與資深設計師深澤直人和攝影家藤井保對談,一探物件與攝影的中介關係 ; 以及,透過太田康介深入311福島核災警戒區的鏡頭,發現核災煉獄裡被世人遺忘的無辜動物,所敲起的人類文明浩劫警鐘。另外,本期也催生由攝影家蕭永盛撰寫的「台灣攝影史」,將以分期連載方式,追溯台灣攝影脈絡的歷史足跡。
Why do we look at “objects”? Photography gives us a chance to gaze and contemplate, to displace objects from their usual roles in our daily lives, and then re-focus our attention onto these everyday objects, evoking new dialogues between these objects and us. Our gazes fall upon them, sometimes exploring, sometimes avoiding certain things – which seem closer to us at times, and more removed from us at other times.
In this issue of VOP, Chen Xiaoyun starts a game of searching for meaning through fiddling with fallen branches and titles of his photos as image-texts in his fictitious book Zhuiku Tablet Annotations; Jiang Zhi expresses his burning feelings through flowers in flames; Kishi Kota constructs images with discarded items that he salvaged, presenting to the audience a mosaic of relationships between objects and images; Chen Wei uses everyday objects to create a silent stage, displaying the exceptional qualities of these common items in our daily lives.
This issue of Artist’s Showcase introduces Kikuchi Tomoko, who is recently awarded the Kimura Ihei Award with her I and I series of photographs. She has been documenting drag queens in China for a long time, exploring the sensitive and much repressed issue of gender consciousness in China through her lenses. In the Q columns, we interviewed Japanese critic Iizawa Kotaro, who talks about the point of views in photography critiques. In a dialogue with designer Naoto Fukasawa and photographer Tamotsu Fujii, we examine the relationship between photography as a medium and the objects it presents. Following this, we are reminded of the destructions caused by the human civilization through the pictures by Yasusuke Ota, of innocent animals abandoned in hells of the 311 Fukushima Nuclear Evacuation Zones. Also, this issue of VOP will kick start a series on “History of Photography in Taiwan” written by Hsiao Yong Seng, probing the historical footprints of photography in Taiwan.
-----目錄 Contents-----
◎編輯台報告
◎Features
▲ 陳曉雲 Chen Xiao Yun
── Zhuiku Tablet Annotations
▲ 蔣志 Jiang Zhi
── Love Letters
▲ 岸幸太 Kishi Kota
── Barracks / Things in there
▲ 陳維 Chen Wei
── More
◎郭力昕專欄|再寫攝影 / 物件、戀物與虛無
◎顧錚專欄|雙月書記 / 物 : 攝影的光譜
◎蕭永盛專欄|台灣攝影史 連載一 / 從一張老照片說起
◎Artist’s Showcase
▲ 菊地智子 Kikuchi Tomoko
── I and I
Q|飯澤耕太郎 Iizawa Kotaro
Q|深澤直人 Fukasawa Naoto x 藤井保 Fujii Tamotsu
Q|太田康介 Ota Yasusuke
◎Books
◎Exhibitions
-----------------------
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