Chilean photographer and video artist, Daniela Contreras uses found photographs to explore the ideas of fragility of the memory, imagery where art and photography collide, and seeing and constructing the past and present with her two series, Desaparecidas and Identidades.
Danilea studied Professional Photography in Institute Professional of Art and Comunication-ARCOS in Santiago of Chile and she received her BA degree in Documentary Cinema from the Chile Film School, where she created the documentary, My plebeian blood also it dyes of red and was awarded Best Documentary Prize in FEMCINE FESTIVAL (Santiago of Chile) and the Jury Special Prize in DIVA FILM FESTIVAL (Valparaíso, Chile) in 2011. Also, it was showed in Cuba, Spain and other countries.
In 2013, her project, Classe Touriste, was selected for the Second Antology of the Chilean Young Photography and it will show in the exhibition, Filiations, (curator: Viviana Brodsky) in Art Contemporary Museum-MAC of Santiago of Chile (October-November, 2013). Her video-essay, 32º south – 73º west, received a grant from the Art Fund of The National Council for Culture and the Arts (CNCA) and a grant for the Master of Visual Antropology at Barcelona University of Audiovisual Fund of CNCA. At present, she is part of photography and genre collective, Paper Photographers women, and co-publisher of the fanzine Contextualized Photography in Barcelona, Spain.
Desaparecidas and Identidades
Making photography nowadays is a bet on the impure, on the contaminated formats and on those mixed zones: where the art fields negotiate their borders. That’s why, I’m interested in developing different kind of projects (audiovisuals, photographic and in visual arts) to ask myself about the present and the past, to question me the collective memory and the identity problem, and at the subject that produces. In this sense, working with photographic and visual materials of other people together with mine; is an attractive way to compare distinct forms of seeing and constructing, visually, the world and the reality. Across these confrontations I search to generate a critic narration, new significances and images for a present in constant transformation. For example, «Identities» is a reflection about family photographic portraits as a process of objectification of the memory and the identity that, through censorship of the face (identity), the work prevents that the photographies befalls as family memory and deconstructs their symbolic condition.
Black Holes & Blind Spots
2010 – ongoing
Inspired by the ideas of American Transcendentalism, I photograph non-descript situations that make me pause and consider the varied relationships people have with the natural world. I wonder if it is possible to have a transcendental experience in a residential landscape with my camera, far from the ideal, traditional places of the sublime. Black spots are digitally applied to each image to characterize how I am compelled to photograph such situations, pulled in to the subject matter like the gravity of a black hole. Conversely, the black spots partially disguise each image, disrupting the viewer’s field of vision and negating the photograph’s function as an effective communication tool.
“The Lord’s Prayer”
Music by Shiri Malckin from Israel
Lyrics and voice by Nina Maroccolo from Italy
Video art by István Horkay from Hungary
Horkay’s art is epitomic in the double meaning of the word: a fragment, an incised part of something already in existence, and – just because of this incision – is an injury to the finished surface, to the tangle of writing or a finished picture. This relies on the experience that man, handing himself down through signs, simulates a kind of sense-wholeness. In these series this textual sense-wholeness appears to be ever different as different colors enter the surface at different sites. It is the same and not the same at the same time. “Once the signs are scars, then the wounds will tell tales of some non-alleviated history” (D. Kamper – Zur Soziologie der Imagination Hanser V. 1986. p. 148).