🇧🇷 Nostalgia - Campos dos Goytacazes
Nostalgic Flaneur
"É como assistir um filme de época, revisitar o passado, testemunhar um tempo que não o seu. As imagens da fotógrafa brasileira radicada em São Francisco Raquel Venâncio nos conduzem a um passeio atemporal, em que tudo – ou quase tudo – nos remete à uma história que data de outrora. Ela ratifica essa leitura ao assumir que, desde menina, suspeita-se nascida em outro tempo. Uma consciência nostálgica que, não raro, a faz sentir-se atraída por coisas e lugares que não teve a chance de vivenciar: um telefone, um carro, um cinema, uma vida. Não se trata aqui de (retro) projetar-se no tempo-espaço, ou sequer de reverenciar aquele algo que não lhe foi dado. Talvez o motor desse mais recente trabalho seja o de testemunhar sobre como tais coisas sobreviveram – e ainda persistem – na atualidade. A adoração por parques de diversão, outra reminiscência da infância, ainda povoa seu imaginário, apesar da consciência de que, hoje, alguns desses lugares possam ser tidos como decadentes e obsoletos. “Tento extrair deles a mesma visão que tinha no passado, interferindo minimamente na luz do lugar em que foram encontrados”. Paradoxalmente, tais registros resultam por demais contemporâneos, seja pelos planos ou enquadramentos adotados pela artista. “São eles quem permitem essa visão acontecer”. Há uma certa narrativa de cinema na série dedicada aos parques, bem como às cenas de rua e fachadas de hotéis. A imagem enquanto frame e que, mesmo congelada, não se furta de imprimir movimento. Nada é estático: nem a fotógrafa, os objetos em cena, ou mesmo o espectador. “O cinema sempre foi a minha paixão. Desde criança. Nunca pensei sobre isso, mas é a mais pura verdade”. A pesquisa em torno das fachadas das antigas salas de projeção, em curso desde quando mudou-se para a Califórnia, estabelecem um poderoso contratempo a uma outra vertente criativa, a de registrar a arquitetura e o design de interiores na contemporaneidade. A "fixação" por essa aura mais antiga, por essa nostalgia, não é algo que se procure. Venâncio diz surgir naturalmente, basta pôr os pés fora de casa. Atenta ao acaso, ela assumiu o telefone celular como ferramenta de trabalho, na serie My everyday. E incorporou à linguagem toda a sorte de imperfeições inerentes a esse aparelho. Num meio como o da fotografia, em que a qualidade técnica chega a ser imperativa, Raquel Venâncio subverte as exigências de mercado em nome da praticidade de poder registrar momentos que ela afirma não se repetir."
Gilberto de Abreu
Jornalista/Critico de arte
🇺🇸 Nostalgia - Campos dos Goytacazes
Nostalgic Flaneur
"It's like watching a period movie, revisiting the past, witnessing a time other than yours. The images of the Brazilian photographer based in São Francisco Raquel Venâncio lead us to a timeless walk, in which everything – or almost everything – takes us back to a story that dates back to the past.
She ratifies this reading by assuming that, since she was a girl, she is suspected of being born in another time. A nostalgic conscience that often makes her feel attracted to things and places that she did not have the chance to experience: a phone, a car, a cinema, a life.
This is not about ( retro ) projecting into space-time, or even revere that something that was not given to you. Perhaps the engine of this most recent work is to testify about how such things survived – and still persist – today.
The adoration of amusement parks, another reminiscence of childhood, still populates its imagination, despite the awareness that, today, some of these places can be considered decadent and obsolete. “ I try to extract from them the same vision that I had in the past, interfering minimally in the light of the place where ” were found.
Paradoxically, such records result in too many contemporaries, either due to the plans or frameworks adopted by the artist. “ They are the ones who allow this vision to happen ”.
There is a certain cinema narrative in the series dedicated to parks, as well as street scenes and hotel facades. The image as a frame and that, even frozen, does not shy away from printing movement. Nothing is static: neither the photographer, the objects on the scene, or even the viewer.
“ Cinema has always been my passion. Since I was a child. I never thought about it, but it's the purest truth ”. Research around the facades of the old projection rooms, which has been underway since he moved to California, establishes a powerful setback for another creative aspect, to register architecture and interior design in contemporary times.
The "fixation" for this older aura, for this nostalgia, is not something to be looked for. Venâncio says he comes naturally, just put your feet out of the house. Attentive to chance, she took over the cell phone as a work tool. And it incorporated into the language all sorts of imperfections inherent to this device.
In a medium like photography, where technical quality is imperative, Raquel Venâncio subverts market demands in the name of the practicality of being able to register moments that she claims will not be repeated."
She ratifies this reading by assuming that, since she was a girl, she is suspected of being born in another time. A nostalgic conscience that often makes her feel attracted to things and places that she did not have the chance to experience: a phone, a car, a cinema, a life.
This is not about ( retro ) projecting into space-time, or even revere that something that was not given to you. Perhaps the engine of this most recent work is to testify about how such things survived – and still persist – today.
The adoration of amusement parks, another reminiscence of childhood, still populates its imagination, despite the awareness that, today, some of these places can be considered decadent and obsolete. “ I try to extract from them the same vision that I had in the past, interfering minimally in the light of the place where ” were found.
Paradoxically, such records result in too many contemporaries, either due to the plans or frameworks adopted by the artist. “ They are the ones who allow this vision to happen ”.
There is a certain cinema narrative in the series dedicated to parks, as well as street scenes and hotel facades. The image as a frame and that, even frozen, does not shy away from printing movement. Nothing is static: neither the photographer, the objects on the scene, or even the viewer.
“ Cinema has always been my passion. Since I was a child. I never thought about it, but it's the purest truth ”. Research around the facades of the old projection rooms, which has been underway since he moved to California, establishes a powerful setback for another creative aspect, to register architecture and interior design in contemporary times.
The "fixation" for this older aura, for this nostalgia, is not something to be looked for. Venâncio says he comes naturally, just put your feet out of the house. Attentive to chance, she took over the cell phone as a work tool. And it incorporated into the language all sorts of imperfections inherent to this device.
In a medium like photography, where technical quality is imperative, Raquel Venâncio subverts market demands in the name of the practicality of being able to register moments that she claims will not be repeated."
Gilberto de Abreu
Journalist/Art critic
