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| Construção na Avenida Interlagos No. 4928 |
A cidade afinal de contas é também a "Paisagem" dos moradores urbanos que tem a sua própria visualidade que não aquela dos arquitetos e planejadores. Por isso, eu não me preocupo com a Arquitetura "stricto sensu" (porque não me ponho a serviço dos arquitetos) e sim com uma visão de conjunto incluindo os aspectos arquitetônicos (lato sensu) como monumentos, museus e automóveis pedestres, pistas e vias e as outras coisas que constituem o que eu chamo de "
paisagem urbana". Dentro dos aspectos mencionados acima, existem obras imponentes no sentido de ambientes públicos que destaco por seu valor social, histórico, humanizador ou outro que transcende o "private acheivement" ou realização particular do indivíduo. Dou um exemplo na comparação entre o
Walt Disney Music Hall em Los Angeles, e o
Centro Cultural São Paulo. O primeiro é uma espetacular carapaça em titânio voltada inteiramente para fora mas na qual ninguém penetra sem primeiro ter "comprado" entrada. A desculpa é claro, e´a intensa programação cultural que ali dentro se desenvolve. Do outro lado, o Centro Cultural São Paulo, não tem exterior mas convida qualquer um para entrar seja ele quem for.
Também não busco apenas o Belo dentro dessa paisagem, gosto também do feio e do insólito. Diga-se que tento "estetizar" o feio porque ele também faz parte da cidade. Assim, o aspecto "street photography" ou fotografia de rua também está presente em minha pesquisa do visual urbano.
Essa aparente contradição não é minha mas está inerente ao ambiente urbano. Quando arrancamos a carapaça da epiderme social, se desnuda a gama entre a arte da elite e a arte do homem comum. Por outro lado, não é difícil ver que alguns empreendimentos são muito dispendiosos em quanto que outros muito baratos (mas não sem expressar um valor estético e porque não dizer irônico). Nesse sentido se tornam evidentes os aspectos Hight Art e Low Art da minha visão.
ENGLISH VERSION:
We are already in the third month of 2020. It is only now that I can blog. It is a lack of habit. I'm making a promise to post at least once a month.
I have been very focused since the final months of 2019 and the beginning of 2020. I am trying to finish three publications that are consuming me a lot of time. They are a tutorial in the form of a Work book on HDR photography, and the other is a booklet on Panoramic Photography. What is most consuming my time, however, is The Virtual Image, an essay on the history and theory of Cinema going from the beginning before Photography until more or less the 1950s, in other words, a dividing line that comes to coincide with Italian Neo-realism . This cut has the purpose of not extending the story too much because it is at this time that the world cinemas "explode" which would undoubtedly require a second volume to include not only the new trends in America, Europe but also in the third world like India Latin America, Asia, Africa and the countries of the Middle East. All of this will be part of the second volume The Virtual Image Volume II.
Well, I'll post more about that later. I must have something concrete around April or May.
Today, I am going to post a small photo essay of the City of São Paulo where I have been living since I retired from the Federal University of Uberlândia where I was in the chair of Photography but also taught Cinema and coordinated the photography laboratory and the Video Nucleus in addition to being one of the founders of University Radio and TV.
Recently a former student of mine Leonardo Finotti published a collection of photos of São Paulo on his website (photos@leonardofinotti.com) and this encouraged me to do the same with my collection. Unlike Leonardo, who is now internationally recognized as an "Architectural Photographer", I am on the other hand an Urban and Landscape Photographer.
The city, after all, is also the "Landscape" of urban dwellers and has its own visuality other than that inended by architects and planners. For this reason, I am not concerned with architecture "stricto sensu" (because I do not put myself at the service of architects), but with an overall vision including architectural aspects (lato sensu) such as monuments, museums and pedestrians, cars, streets and roads and the other things that make up what I call the"urban landscape". Within the aspects mentioned above, there are imposing works in the sense of public environments that I highlight for their social, historical, humanizing or other value that transcends the "private acheivement" or individual will.
I'll give an example in the comparison between
Walt Disney Music Hall in Los Angeles, and Centro Cultural São Paulo. The first is a spectacular titanium shell turned outwardly, but which no one penetrates without first "buying" entry. The excuse, of course, is the intense cultural program that develops there besides the fact that it is privately owned. On the other hand, the
São Paulo Cultural Center, has
no exterior because it is litterally dug into the ground, but invites anyone to enter whoever that may be rich or poor.
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| Avenida Interlagos, São Paulo |
Nor do I seek only the beautiful within this landscape, I also like the ugly and the unusual. Let it be said that I try to "aestheticize" the ugly because it is also part of the city. It is as tough it has a moral right to co-exist. Thus, the "street photography" aspect is also present in my research of the urban landscape.
This apparent contradiction is not only mine but is inherent in the urban environment. When we strip off the carapace of the social epidermis, the range between the art of the elite and the art of the common man becomes more evident . Nevertheless it is not difficult to see that some projects are very expensive while others are very cheap (but not without expressing an aesthetic and why not say ironic value ). In this sense, the High Art and Low Art aspects of my vision become evident.
The point is that in that category only projects that anyone can see and anyone can visit are shown to the exclusion of luxury homes that nobody can visit.
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