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luís soares

Blog do escritor Luís Soares

Desert Fire #153, from Desert Canto IV: The Fires, 1984

Independentemente dos méritos cinematográficos de Nocturnal Animals de Tom Ford - eu sou daqueles que gostou muito - há toda a presença de arte contemporânea de vários tipos e formatos, muitas vezes no ecrã, em particular ligada á personagem de Amy Adams, Susan Morrow, galerista em Los Angeles. Nem estou a falar de inspiração visual, estou a falar de obras de arte como parte do cenário.

A propósito, vale a pena ler este artigo e a entrevista com Shane Valentino, o designer de produção do filme. Diz ele a certa altura:

My favorite artwork in the film is Richard Misrach’s "Desert Fires #153" photograph in Susan Morrow’s house foyer. It was an early reference on my mood board for Nocturnal Animals' West Texas storyline. Tom immediately responded to the photo, not only because it was a part of his personal collection, but because it captured some of the ideas we were trying to articulate—desperation, confusion, and fear. The photo has a man pointing a rifle at another man who is smiling to the camera. Normally it could be interpreted as a playful moment between two men, the threat of annihilation diffused by a simple smile, but by placing the action or “capturing” the moment within an environment consumed by smoke and fire, the playfulness evaporates and the imminent danger is highlighted. The photo does an incredible job of capturing this tension, a tension almost duplicated in the highway scene between Tony’s family and Ray’s gang.

A fotografia em questão é esta e podem ler mais sobre ela aqui.


The Mysterious Opacity of Other Beings







Since the publication of Richard Misrach’s best-selling and critically acclaimed publication On the Beach, he has continued to photograph at the same location, building a body of work that has been exhibited as On the Beach 2.0—a reference to the technological and optical developments that have made the intensely detailed, exquisitely rendered depictions possible. The Mysterious Opacity of Other Beings focuses less on the abstraction of water, sand, and mote-sized figures, instead honing in on the gestures and expressions of bathers adrift in the ocean, at play or in poses ranging from relaxation to transcendence.

Misrach has rarely ventured into portraiture; this work is his first to focus exclusively on the human figure. Each photograph features one or more individuals crisply rendered from a distance, as they seem to levitate among turquoise waves, isolated from everything save the shifting patterns of the ocean. There is ambiguity and a sense of the uncanny in the figures suspended in the water: are they approaching the shore or moving away from it? Each image is presented both as full frame and as a series of enlarged details that enable the viewer to lin- ger on each individual’s complete surrender of their body to the sea—a seductive melding of human and nature.


Richard Misrach (born in Los Angeles, 1949) is one of the most influential color photographers of his generation. His work is held in the collections of over fifty major institutions, including the Museum of Modern Art, Whitney Museum of American Art, and Metropolitan Museum of Art, all in New York, and the National Gallery of Art, Washington, D.C. A major mid-career survey was organized by the Museum of Fine Arts, Houston, in 1996. The exhibit On the Beach traveled to several museums in 2004, including the Art Institute of Chicago; High Museum of Art, Atlanta; and National Gallery of Art. In 2012, Misrach collaborated with Aperture to launch a book and exhibition titled Petrochemical America, a series of photographs that explores the health and environmental issues surrounding the Mississippi River industrial corridor, otherwise known as “Cancer Alley.” Images from the project are featured in the Emmy-nominated title sequence of HBO’s True Detective.