Espontaneidade sob encomenda; deu no The New York Times: enamorados contratam paparazzi para flagrar o momento em que pedem suas/seus amadas/os em casamento. Mais uma fonte de renda para os paparazzi, que podem ganhar até US$500,00 pelo serviço; mais uma prática em que se misturam autenticidade e artifício, privacidade e publicidade; mais uma via de se perseguir o efeito de real num fotojornalismo romântico; mais uma afirmação da "estética do flagrante" como modo privilegiado de se vincular imagem e realidade. A boa nova vem do Tiago Dória Weblog (mais uma dica do Cezar).
Além disso tudo, essa história me lembrou o trabalho Fonce Alphonse (1993), do artista e fotógrafo Jeff Guess, em que este ultrapassa propositalmente o limite de velocidade com o seu carro na França, no dia do seu casamento, para que o o casal de noivos devidamente vestido para a "cerimônia" seja flagrado por uma câmera de controle do trânsito. Com esse dispositivo irônico, o artista gera uma foto de casamento absolutamente gratuita e entregue a domicílio pelo Estado. A imagem e o texto abaixo são do site do artista.
"In France the police set up cameras on the side of the highway which flash and take a photograph of speeding cars. Fonce, Alphonse (1993) is a police photograph which recorded an intentional speeding violation on my wedding day. The title roughly corresponds to the English, ‘Put the pedal to the metal’ It can be thought of a reflection on certain aspects of the work of Marcel Duchamp - on speed, the indifference of the machine, the bride, the ready-made, questions of identity, etc. It represents one of the most intimate moments in the life of a couple, marriage, and precisely at the exact moment where the police photo tries to identify us, our identities are in flux, marriage bringing about a change of name, of social status, even of nationality. It is meant to be thought of as a provocation. I was thinking of Alphonse Bertillon who systematized police photography at the end of the nineteenth century. In a way police photography approaches ‘objectivity’ as much as possible because it has legal status. The judiciary institution gives it its authenticity. But because we were speeding on purpose this becomes problematic. The power relations are reversed. In the same instant we go into the law through marriage, we also become ‘outlaws’. Marriage, institution of the State is confronted with the institution of the police."
Além disso tudo, essa história me lembrou o trabalho Fonce Alphonse (1993), do artista e fotógrafo Jeff Guess, em que este ultrapassa propositalmente o limite de velocidade com o seu carro na França, no dia do seu casamento, para que o o casal de noivos devidamente vestido para a "cerimônia" seja flagrado por uma câmera de controle do trânsito. Com esse dispositivo irônico, o artista gera uma foto de casamento absolutamente gratuita e entregue a domicílio pelo Estado. A imagem e o texto abaixo são do site do artista.
"In France the police set up cameras on the side of the highway which flash and take a photograph of speeding cars. Fonce, Alphonse (1993) is a police photograph which recorded an intentional speeding violation on my wedding day. The title roughly corresponds to the English, ‘Put the pedal to the metal’ It can be thought of a reflection on certain aspects of the work of Marcel Duchamp - on speed, the indifference of the machine, the bride, the ready-made, questions of identity, etc. It represents one of the most intimate moments in the life of a couple, marriage, and precisely at the exact moment where the police photo tries to identify us, our identities are in flux, marriage bringing about a change of name, of social status, even of nationality. It is meant to be thought of as a provocation. I was thinking of Alphonse Bertillon who systematized police photography at the end of the nineteenth century. In a way police photography approaches ‘objectivity’ as much as possible because it has legal status. The judiciary institution gives it its authenticity. But because we were speeding on purpose this becomes problematic. The power relations are reversed. In the same instant we go into the law through marriage, we also become ‘outlaws’. Marriage, institution of the State is confronted with the institution of the police."
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