Editor’s Note, This interview was conducted over the period of months. Federico and I would ping pong ideas back and forth. Being a busy artist, Clavarino had already moved into several different territories from my principal point of trying to tackle Hereafter, his great opus about power, family, archive and how history is activated […]
“In very broad terms, it seems that the work made in the West during the 20th century portrays a prolonged event – a disaster, you could say – that unfolded as modernity overtook the landscape and ideologies were instilled in American culture”.
“Times change, we orchestrate ourselves to different locations and yet with nostalgia nothing need be lost. It can be found again. We can consider the death of an idea as being flexible to finality, but that is a different conversation”. We tend to enshrine people and ideas with a certain sense of […]
“We propose that what “X” is to “Y” is how “Z” was accomplished. We lack the details of a true oversight and our compunction to rely on discourse written from outside observations can be careless”. When we reflect on history or movements that occur between eras, it is often hard to perceive the […]
“From there it is all ticker tape and pumpkin pie. From the position in front of its double, it’s the smell of Baltimore’s burning brownstone wires and antiseptic hand sanitizer ironically left on the church pew”. “That is no longer considered autonomy. That friend is unfettered barbarism”. No stronger words have been […]
“The ability to disseminate information via photographic images, no matter their actual content, will to representation, or state of factual existence has provided us with what we are currently experiencing in contemporary times as media language and the post-truth image”.
“As photographers, we are often split into encampments of a means of production that qualify what “happens” in front of our lens and what we “design” in front of our lens-it is not so different with how we manage our lives”.
“It is to accept that an image, though agreed as unable to achieve absolute status has many interpretive layers and one of these is the age of the viewer and his or her relation to the subject matter within the frame(s) conditioned by history, time and nostalgia…”
“…What is also interesting is that the book allows us to comprehend the ideological point of view of its author, something that is not detectable in the image itself”.
“A friend familiar with what I do suggested I have a look at Bachelor & Spinsters Balls – rural gatherings originally designed to overcome distance and loneliness in the bush.”
“I know How Furiously Your Heart is Beating is not Alec Soth’s most important body of work and perhaps for no reason other than the glory of the new will my words be seen as critically negative”.
“…In a landscape where nothing was recognizable, except the clouds, and in the middle, in a field of forces crossing tensions and destructive explosions, the tiny and fragile human body”-from Illuminations: Essays and Reflections.