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Ever since the earliest days of photography, the family has naturally found its way into the heart of the image. In front of the daguerreotype lens, people often had their photograph taken with their loved ones.
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Vincent Catala’s photographs do not align with the conventional, or even official, representations of Brazil. The bright stereotypes of joy, rhythm, exoticism, prosperity or, conversely, poverty that surround these narratives overlook the face of the country that the artist presents in his images. And therein lies their power.
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Photography has often sought out its singular figures, its marginal artists in the vein of Douanier Rousseau, Facteur Cheval or Aloïse, to enrich its categories. Yet it is not in Marcel Bascoulard that it will find its ‘raw photography’.
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Michela Cane wasn’t even born when ‘el pibe de oro’ was thrilling the Neapolitan public. Yet it is the cult surrounding him today that she has dedicated an astonishing body of work to, in which visitors are invited to participate.
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Placeholder is an attempt at holding it together in the face of absence; of a mother, of a memory, of something tangible. Hands holding rocks, hands gripping other hands. Images oscillate between dreams and recollection, distorted and transformed over time.
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