Quimera presents Ya casi es mañana, by Manuel A. Fernández
The exhibition gathers the artist’s last series of photographies regarding the contemporary urban contructions that play with the idea of promise and future.
Buenos Aires-. Since september 22th at 19hs is possible to visit Manuel A. Fernández’s solo show ‘Ya casi es mañana” curated by Francisco Medail. The exposition gathers the artist’s last series of photographies regarding the contemporary urban contructions that play with the idea of promise and future. “Manuel A. Fernández’s work is always disturbing and challenges us to rethink the actual role of images and its relation to the way we perceive time” says Gabriel Bitterman, Quimera’s director.
Q. Editora will publish, as in every exhibition, a catalogue dedicated to Manuel A. Fernández’s solo show, gathering his previous and lasts artworks along with critic and poetic text’s by Francisco Medail, Agustina Triquell and Lorena Fernández.
Curatorial text:
“Photography has been closely linked to the city. Since its origins, it is possible to draw up a genealogy of photographers who were devoted to keep records of the changes and transformations that the cities went through while their demographic density increased. Cases such as Atget, just to mention one, aimed their interest at recording anything that was about to disappear. Others, far from any nostalgia, used photography to express their fascination for the future: the portrait of a city of the future, the image as a belief.
We could include Manuel Fernández in this tradition. However, in his photography there are no acts of claim or professions of an eminent morning. Fernández remains skeptical, he does not make any judgment. His search is focused on a shift of representation: if in the tradition of photography, the promise of a modern city lay in its light and monuments, the images of Fernández question the validity of that promise today. How to foresee the near future? What expectations are there?
The artist escapes the suspicious imaginary that science fiction movies usually show. On the contrary, he uses direct photography as an expression of truthfulness. In the complexity of these images, the ontological tension of the model is present: they are circumstantial footprints of an inexistent reality, the document of a suspicion. Fernández does not photograph photography, he takes pictures of the promise transformed into promotion, the trust as an act of faith. ” Francisco Medail. August 2016.
About Manuel A. Fernández:
Manuel Fernández developes as a photographer, printer and photo retoucher. He’s co-founder of Nano Festival of Photography and Editor at PianoPiano’s collection. He showed his works at local and international galleries and art fairs. He was selected for the National Salon at Palais de Glace in Argentina, also for Fundación Lebensohn’s prize. He studied with Juan Travnik, Daniel Merle, Gabriel Valansi and Rosana Schoijett, semiotics and aesthetics with Daniel Ponce, photographic direction with Rodolfo Denevi, art clinic with Diana Aisenberg.
Quimera
Humboldt 1981, CP1414
Buenos Aires, Argentina.
