Adrian Tyler
London, 1963 |
| Text: Space effects |
I'm sorry... you met me at
a very strange time in my life.
-David Fincher & Jim Uhls, Fight Club-
At the end of The Eclipse, the programmatic film of Antonioni,
the urban spaces through which the characters of the story
passed as astronauts, turned into abstract characters themselves
and eclipsed the personalities. These disconnected spaces
showed that in an era like the cosmonautic one and the one
where everything is relative, the space dimension of experience
is as decisive as the temporal. In The Central Region of
Michael Snow, a continually rotating camera explored for
3 hours a similar aesthetic space without resolving the enigma
of the critical disappearance. These impeccable photographs
of Adrian Tyler realise on step more in the evacuation of
the figure and the emptying of the landscape and they are
setting up in autonomous and fragmentary regions of inexistence.
There is no meaning nor any feeling linked to these uninhabited
spaces, they are instantaneous untimely externals, deserted
images of a native territory, maybe never occupied. Emptied
of space, as it is said in sculpture; strictly speaking,
more than empty spaces. As if the photographer, instigated
by the impersonal look of the camera, would have displaced
the possible characters off the frame, with the goal to stay
alone in the specific space, separated from the environment
and released of any human trace. Further, there is no nostalgia,
as it perhaps could have been part of the terminal plans
of Antonioni, towards the eclipsed presence. Like in an “objectified” novel,
it could be talked about suspicious surfaces, redundant elements,
obsessive descriptions, confused directions, as if the bright
images would conceal a passionate plot, some shameful secrets
or a heinous crime. Though, it’s not like that. The
corrosion, the rust, the dirt, the erosion, the negligence
or the desolation are the only signs of a conjectural chronology,
of a virtual tale about the colonisation of the habitable
space. In the middle of this somehow empty perfection of
the speculative spaces of capitalism, only the chronic and
parasitic presence of these hostile elements reached to insinuate
a utopian turn which makes it possible to reconnect each
one of the photographs with the others. To imagine the adventure
of an evolution or a development in the deserted space. A
space opera of pure space effects.
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| Juan Francisco Ferré |
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