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    samaras

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    © All Rights Reserved
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    8 views7 pages

    Samaras

    Uploaded by

    antonella
    samaras

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
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    Autorretratos Self-Portraits Esther Ferrer John Coplans Yasumasa Morimura Jorge Molder Lucas Samaras Ryan Weideman Vito Acconci Pierrick Sorin Bruce Nauman Javier Pérez Douglas Gordon Nan Goldin Jiirgen Klauke Claude Cahun Lucas Samaras La belleza revelada La serie Sittings son retratos fotogrticos de personajes y ami ‘905 de Lucas Samaras que pertenecen al mundo del arte y que accedieron a posar para él. Elos se revelan aqul en las cond cones mas simples, radeados de luces duras y pafos gruesos {que contrastan con su desnudez, mostrandola con violencia a desouder del cuerpo es uno de ls ej centrales en el ta bajo fotagetico de Lucas Samaras. Su sevie mds inquietante y reconocida es Autopotaroids (1969-71), con imagenes en las ‘que el artista se rerata en todo tipo de posturas, maquilado, con pelucas, descubriendo su traser0 0 sus genitales ante la ‘camara. Aqul, Samaras revela su propia y muy especial cura, su interminable bisqueda de una imagen desi mismo, su rel sion y soledad. (..) (2) Samaras relata cémo fueron las sesiones de retratos: “La gente estaba avergonzada af mostrarse desnuda, sobre todo porque sentian que tenian defects. Intentaron esconvdor sus imperfecciones grando en un sentido 0 en otro. Como yo estaba fotogratiando a gente que conocia bien y que conocian ri trabajo, confidban en mi, También sentian que estaban haciendo algo impartante porque estaban paricipando en una cobra de arte” (..) (..) Mientras en 1964 Samaras convitio al publco de la ‘galeria Green, en Nueva York, en espectadores de su espacio intimo, con Stings, transforma alos actores de la escena ants- tica en figurantes slenciosos de su propio teatio, intérpretes doles para su continuo mondlogo interior. Hay que estar aten- +05 agu al preuicio que lleva consigo la fotografia, que se suele presentar como un simple medio para el registro de la realidad Samaras hace todo lo que puede para escarecer este asunto. Primero prepara el marco repleto de joyas y destellos, es deci of decorada, una escenografia naturalmente tocada con su firma y estilo: tlas de vivos estampados que recuerdan a su ‘obra anterior con materiales textes, patos descendiendo del ‘echo como en ciertos paises mediterrdneos donde los sulos y paredes estén cubiertos de alfombras, extras luces multicolo- res que ean un universo artifical y alucinante, Entonces el modelo entrard en este teatro bizantino, Le espera una sila, en la que el anista invita a su modelo a sentarse. Qué puede hacer 1 aspzante, sino intentar encajar de la mejor manera en el olde que es ali para recbie?,(.) (.) El artista no prohibe, pero sugiee implictamente, Es tuna suerte de guia espitual ala vez que un maestro de cere- rmonias yempresario. (..) Carmen Frawcoun Catherine Franeblin es responsable eitoral de pubcatones pra a Colecin Nacional de Ate Contempersneo, Francia, cca de arte y comeana ingependente stagnate glo atone Set 19781880 Goes, Pas, 2000. CF 199008 100 Beauty for the Beholder The “Sittings” are photographic portralts of art-word figures and fiends of Lucas Samaras who have accepted to serve as ‘is mods. They reveal themselves here withthe simplest conditions, surrounded by stark kghts and thick draperies that Contrast with their nudity and place it violently on displ. The body's nakedness is a central theme in the photographic work of Lucas Samaras. The most troubling and justly famous series is that ofthe Autopolaroids (1969-71), in which the artst portrays himself in al sorts of postions, ‘covered in make-up, coifed in wigs, baring his posterior or is genitals to the camera, Here Samaras reveals his own very special made - his Boundless quest for an image of himsal, is voluntary seclusion and softude ‘Samaras recounts the portrat sessions: “The people were embarrassed about showing themselves naked, particulaly because they felt they had defect, They tried t0 hide ther imperfections by turing ths way or that. Since | was photographing people! knew well and who knew my work, they trusted me. They aso felt they were doing something important because they were participating i an artwork” Were in 1964 Samaras transformed the public of the Green Gallery into spectators of his intimate space, wth the "Sitings” he transofs the actors ofthe art scene into silent stand:ins for his own theater, docile mummers fr his continuing inner monologue. One must beware here ofthe prejudice attaching to photography, which tends to present it 25 a simple medium for the recording of realty. Samaras does his best to clsabuse us on this score. Fist he prepares the {ewstudded frame, that i, the décor, naturally inscribed with ‘is signature: brightly patterned fabrics recalling his eater work with textile materials, draperies descending from the

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