Francis Bacon: Study for Bullfight No 1, 1969 Photographer atypical. First, by its practice of photography in the field of international photojournalism. Second, by its position as a member of Magnum, totally unmarked in the classicism that has characterized it since Robert Capa and Cartier-Bresson point their stylistic patterns in the 50's. Radical position in the form and content, so that the viewer has no settles his gaze on the news network
but in the value of an atmosphere within the limits of the speakable. Photojournalism If your language has been built from the mediation of realism, Antoine D'Agata seen as a cornerstone of chronic subversive, not so much to have a situation vital, social policy or to stretch the domestic mandate that takes you to run the image from a domestic policy. Could talk of a photojournalism inside that twists the way to get content from the guesses of what is observed, where the observed also makes us, in similar proportion. Is it not also conjecture photojournalism? Possibly. Maybe because the truth never comes to fruition at the moment. Maybe because the truth is just the prelude to an event in constant evolution. The picture (even unrealistic) is always a constructed image, and this is where D'Agata anathema stretch the possibilities of photojournalism.
Antoine D'Agata: Isomnia, 2000 approaches the work of Francis Bacon, finding in it (and this remains a speculative line) part of the creation in which objects and subjects photographed are established as true creators of the image.
However,
the image has to be cleared through the body , a conclusion not reached by default but by a constant search for identity that is never fulfilled. Remove the signs through a radical expression, violent, inconceivable, until the end to appear dominant theme without compromise: the rooms where everything has to happen, both Bacon as D'Agata, show recognizable spaces, but the body opposed to another body regarding loss intensifies to dump any response on the side of the imaginary. Some portraits of Bacon projecting that definition impossible, the question of the meaning of being remarked that philosophy from existentialism. D'Agata takes the example of Bacon to ask the question from the
photojournalism.
Antoine D'Agata: Cambodia, 2007 However, to reach any conclusion, we at least make us more questions. What has happened in an agency like Magnum, with a tradition firmly rooted in journalism, to suddenly take a photographer Antoine D'Agata and their ranks? It could be argued that models impuestos por instituciones como el World Press Photo , premio que por otra parte ha sido otorgado a numerosos miembros de Magnum, han llegado a un callejon sin salida desde la óptica de la construcción de su lenguaje visual. Esto no quiere decir que se haya producido una pérdida de calidad. Muy al contrario, esa forma de entender la práctica fotográfica se reafirma cada año con nuevas muestras de valentía estética e informativa. Lo que bien pudiera estar sucediendo es que las fronteras entre el fotoperiodismo clásico y el arte (fotografía) conceptual se están difuminando, hecho que repercute en la elasticidad de lo que tradicionalmente se había de entender por las
funciones sociales del fotoperiodismo
. D'Agata is a clarifying example of this shift, but the measure has not been resolved and it is quite possible that there is no exact line for the balance unless a feasible work in an outside-inside the Magnum agency. Other consequences are that the panacea of \u200b\u200bphotographic objectivity has been dismantled. Subjectivism evidence had been covered in part precisely because of the predominance of a clause that was to emphasize how newsworthy as a source of truth. The increasingly apparent fusion between the conceptual and documentary image meets the prerogatives of subjectivism without having to give up so journalistic background.
intentionally or not, Francis Bacon supplies the work of Antoine D'Agata some conceptual references, calling even the abstraction of a road that had just walked past photojournalism, standing shamelessly in the interior of his own picture with the same evidence that Bacon would be central of his painting. Given that creative touch, both elude the viewer almost as a defensive act against decency or obscenity.
Francis Bacon: Study of Henrietta Moraes, 1969
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