DIMPY BHALOTIA
Poche, pochissime erano le foto in casa di Henri Cartier-Bresson; una, forse due. Una, per cui il grande fotografo aveva una vera e propria ammirazione, era “Three Boys at Lake Tanganika” di Martin Munkácsi. Tre ragazzini immortalati di spalle che sprigionano un’incontenibile vitalità mentre corrono verso le acque del lago. Perché Cartier-Bresson amava quella fotografia? Perché, come ha detto lui stesso: “Ho capito improvvisamente che la fotografia può fissare l’eternità in un momento”. Osservando la fotografia “Flying Boys” di Dimpy Bhalotia, e con la quale si è aggiudicato il Female in Focus Award 2020 del British Journal of Photography, sembra che i tre ragazzini di Munkácsi siano tornati dopo un viaggio lungo novant’anni. Di più, pare che siano tornati per spiccare il volo e catturati nel preciso momento in cui occhio, cuore e mente del fotografo sono perfettamente allineati come una costellazione lontana. C’è, nelle fotografie della giovane indiana di Londra, qualcosa che arriva da una precisa tradizione fotografica e che àncora saldamente la composizione a quelle tre fondamentali componenti cui si faceva cenno, orientandola verso la ricerca del momento in cui un episodio umano – e non solo – ha la capacità di espletare il suo senso. Irripetibilmente. I riferimenti non mancano, e sono segno di una solida cultura visiva. Quanto guardiamo nelle fotografie di Dimpy Bhalotia sembra fuoriuscire da un racconto riscritto con nuove parole, nuovi cenni ma fermamente determinato a essere interpretato attraverso un lessico che costringe a sostare nello spazio citazionista giusto il tempo che occorre prima di assumere una vita propria. E questa sottile e aggraziata visione delle cose che plana sugli avvenimenti, ha quel respiro che sta dentro in una visione poetica della vita, perché per scattare fotografie che sappiano restituire la bellezza d’un gesto occorre amare la vita e i suoi interpreti. Ecco che uomini e animali, colti singolarmente o al crocevia della reciproca interazione, ci appaiono come soggetti appena involontariamente dialoganti ma che, a ben guardare, sono catturati nell’esatto momento di un dialogo segreto. La forza delle fotografie di Dimpy Bhalotia viene da lontano e dunque è ben strutturata. E si vede soprattutto nell’azzardo di forme, nella scommessa formale giocata sul corpo dei soggetti animali, da cui, in altre circostanze, cogliamo una felice traccia surrealista, un terreno ideale nel quale risolvere talune spericolatezze compositive. Il lavoro di Dimpy Bhalotia sosta alla confluenza di due differenti correnti fotografiche: l’umanesimo e il surrealismo (lo stesso Cartier-Bresson sperimentò un delicatissimo surrealismo prima di fondare la Magnum), maneggiati entrambi con disinvoltura e sicurezza. La sua è una voce limpidissima, minimale. Le composizioni obbediscono al comandamento d’essere rigidamente impostate su un registro essenziale, al limite del calligrafico, ma la sobrietà ci convince del risultato. Il solco della tradizione è tracciato, ma seguirne il percorso senza aggiungere le proprie impronte è come non averci camminato. La fotografia è un libro che non finisce mai di essere scritto, a patto d’avere qualcosa da dire. Come in questo caso.
Giuseppe Cicozzetti
foto Dimpy Bhalotia
https://www.dimpybhalotia.com/
DIMPY BHALOTIA
Few, very few were the photos in Henri Cartier-Bresson's house; one, maybe two. One, for which the great photographer had a real admiration, was Martin Munkácsi's “Three Boys at Lake Tanganika”. Three kids immortalized from behind who release an irrepressible vitality as they run towards the waters of the lake. Why did Cartier-Bresson love that photograph? Because, as he himself said: "I suddenly understood that photography can fix eternity in a moment". Looking at Dimpy Bhalotia's “Flying Boys” photograph, and with which she won the British Journal of Photography's Female in Focus Award 2020, it seems that the three kids from Munkácsi are back after a 90-year journey. What's more, they seem to have returned to take flight and captured at the precise moment when the photographer's eye, heart and mind are perfectly aligned like a distant constellation. There is, in the photographs of the young Indian woman based in London, something that comes from a precise photographic tradition and that firmly anchors the composition to those three fundamental components mentioned, orienting it towards the search for the moment in which a human episode - and not alone - has the ability to carry out its meaning. Unrepeatable. There’s no shortage of references, and they are a sign of a solid visual culture. What we look at in Dimpy Bhalotia's photographs seems to come out of a story rewritten with new words, new hints but firmly determined to be interpreted through a lexicon that forces us to pause in the quotationist space just the time it takes before taking on a life of its own. And this subtle and graceful vision of things that hovers over events, has that breath that lies within a poetic vision of life, because to take photographs that are able to restore the beauty of a gesture, you need to love life and its interpreters. Here men and animals, caught individually or at the crossroads of mutual interaction, appear to us as subjects that are barely involuntary in dialogue but who, on closer inspection, are captured in the exact moment of a secret dialogue. The strength of Dimpy Bhalotia's photographs comes from afar and therefore is well structured. And it is seen above all in the balancing of forms, in the formal bet played on the body of animal subjects, from which, in other circumstances, we grasp a happy surrealist trace, an ideal terrain in which to resolve certain compositional recklessness. Dimpy Bhalotia's work stops at the confluence of two different photographic currents: humanism and surrealism (Cartier-Bresson himself experienced a very delicate surrealism before founding Magnum), both handled with ease and confidence. Her is a very clear, minimal voice. The compositions obey the commandment to be rigidly set on an essential register, bordering on calligraphic, but the sobriety convinces us of the result. The groove of tradition is traced, but following its path without adding one's footprints is like not having walked through it. Photography is a book that never stops being written, as long as you have something to say. As in this case.
Giuseppe Cicozzetti
ph. Dimpy Bhalotia
https://www.dimpybhalotia.com/
同時也有1部Youtube影片,追蹤數超過27萬的網紅Lindie Botes,也在其Youtube影片中提到,TRANSLATION: Hello. My name is Lin Mei Han. That's my Chinese name. English is Lindie. I am South African and I am a university student, I study Grap...
da meaning in work 在 Simon Chang 張 雍 Facebook 的最佳貼文
| 透過拍照更瞭解彼此 |
這些照片都是他誠實的觀察,「你們要怎麼想,我沒有辦法強迫你」張雍說。攝影是他眼睛的延伸,像在先前他拍家人的作品《雙數》和《第二個童年》中,可以看見他的專注。攝影像是「在理解別人的故事中,來認識你自己。」他說,街頭攝影是最準的,看到菜市場、腳會停下來,會轉頭,故事在哪裡,如何被嗅到,那些是最直接的反應。他說「我過我的生活,跟我想見面的人見面、當人的丈夫,當爸爸,攝影師只是我很多身份的其中一個身份,就那麼簡單,攝影師不用無限上綱。」
他的作品裡頭,感情都是直接了當的,「我寧願讓攝影畫面自己說故事。」他說,不需要一篇很長的論述,而是讓作品直接與觀者對話。他也不是那種計畫性的攝影師,他說:「如果有計畫的話,那不會是攝影,而是計畫生活,對我來說,攝影不是創作。」因為他認為攝影能夠有大方向,但在生活中要保有彈性。攝影更像是拿一個遙控器,說著「暫停,讓我再看一次」,然後再做事後的整理。和大多數的攝影師一樣,張雍專注於眼睛所看到的畫面,但他的照片時常伴隨著文字,但並不是如圖說一般的,詳細敘述這張照片。張雍以波蘭導演奇士勞斯基(Krzysztof Kieslowski)的作品為例,提到他作品的空靈感與音樂有關。他也覺得攝影散文集裡頭的文字有一種節奏感,是一種聲音,「文字像是音樂,是我覺得舒服的韻腳,噠噠噠、嗒嗒嗒嗒。文字是旁白,是一個層次、一個畫外音、一個敘事。」
These photos reflect the truth as Chang sees it, because as he says, “I cannot forcefully change the way you think.” Photography is Chang’s eyes. He photographs his family and its importance to him is demonstrated in his previous works MIDVA and Childhood Once More. Photography is like getting to know yourself through learning about other people’s stories. Street photography is the most accurate example—you stop by the traditional market, look around, use your name; there’s a story there—how do you smell it out?— that is your most immediate reaction. According to Chang, “I live my life and meet with people I’d like to meet. I am a husband and a father, and being a photographer is only one of my many identities. It’s just that simple; the role of a photographer does not need to be exaggerated out of proportion.” The emotional content in Chang’s work is fairly straightforward, and he would rather let photography do the story-telling. His work does not require lengthy explanations, as the images can directly communicate their meaning.
Chang is not the type of photographer who plans everything out, either. If he were to do so, “I would plan out my life and not my photography.” As Chang says, “Photography is not a creation to me.” He thinks it cannot be planned, but you can get the big picture by being flexible and trying to keep up. Photography is more like holding a remote controller, saying “pause, let me see that again,” and doing post-hoc sorting. Chang focuses on what he sees with his own eyes. His photos are often accompanied by captions, but they are not the type that typically gives an account of all the details regarding the photo. He points out that the sense of ethereality in Polish Director Krzysztof Kieslowski’s works is related to music. He believes that captions to photographs likewise should be imbued with rhythm and sound. He comments, “I love writing that has the metric flow of music or poetry; da-da-da, ta-ta-ta-ta. A caption should serve as a voice-over, a different level, an off-screen voice, a narration.”
design Magazine 設計雜誌
April. 2017
我一定要到現場去—專訪攝影師張雍
SIMON CHANG | I HAVE TO BE THERE.
text / Eric Weng
editor / Fran Hsiao
da meaning in work 在 Paul Huang, Violinist Facebook 的最讚貼文
Fond memories of Messiaen Quartet for the End of Time from last summer at Great Mountains Music Festival & School.
[Reviewing 2015 Great Mountains Music Festival & School Series 8]
The 8th performance of Reviewing 2015 Great Mountains Music Festival & School Series and very first concert of May is Quatuor pour la fin du temps (Quartet for the End of Time) of Messiaen. It was played on 29th of July, and the title of the concert was Homage to Messiaen. Even Though, it is longer than 50 minutes, it was that much amazing.
Messiaen - Quatuor pour la fin du temps (Quartet for the End of Time)
Jerry Chae, clarinet
Paul Huang, violin
Lluís Claret, cello
Da Sol Kim, piano
Soo Jung Shin, moderator
The title Quartet for the End of Time, asserted Messiaen, was not to be interpreted as a response to his imprisonment; rather he wished to pay homage to “the Angel of the Apocalypse, who raises his hand heavenward saying: ‘There will be no more Time’” (Revelation of St. John). The composer also pointed out that the title has another meaning: his wish for an end of musical time based on the equal durational divisions of traditional music. The Quartet for the End of Time exhibits the polyrhythmic structures that he employed to achieve this aim, and which became very important in his later works. Messiaen also wanted the rhythmic structure to be independent of the harmony and melody, “in the manner of Guillaume de Machaut [c.1300–1377] whose work I did not know at the time.”
[interruption]
Interesting relationships exist between the movements of the Quartet. The second shows thematic links with the seventh, both the third and sixth movements are monodies (clarinet alone, and all four instruments in octaves, respectively), and the fourth movement (the former trio) is related thematically to both the third and the sixth. The fifth and eighth movements are related in style, slow tempo, E major tonality, solo stringed instrument with piano and theological basis.
'A Selection from 2015 Great Mountains Music Festival & School Program book'
- historical background ©Jane Vial Jaffe
[2015 대관령국제음악제 다시보기 시리즈 8]
'2015 다시보기 시리즈'의 여덟번째 공연이자 5월의 첫 공연은 2015년 7월 29일, 알펜시아 리조트 콘서트 홀에 선보인 메시앙의 시간의 종말을 위한 4중주입니다. 특히 이 날의 공연은 메시앙을 생각하며 오마주 투 메시앙 공연 타이틀이 붙었습니다. 50분이 넘는 긴 공연이지만, 그 만큼 대단한 공연이었습니다.
<저명연주가 시리즈 Ⅶ> “오마주 투 메시앙”
메시앙 - 시간의 종말을 위한 4중주
채재일 Jerry Chae, clarinet
폴 황 Paul Huang, violin
루이스 클라렛 Lluís Claret, cello
김다솔 Da Sol Kim, piano
신수정 Soo Jung Shin, moderator
(메시앙은 <시간의 종말을 위한 4중주>란 제목이 자신의 수용소 경험에서 비롯된 것으로 해석되는 것을 원치 않았다. "그보다는 '저 곳에는 더 이상 시간이 존재하지 않는다'며 소으로 천국을 가리키는 파멸의 천사" (요한계시록)에 대해 경의를 표하는 제목이라고 말했다. 이런 제목을 붙이며 작곡가가 소망한 또 하나의 의미있는 동일한 장단음 분할에 얽매여있는 전통적인 음악 시대에 대한 종말이었다. 이를 위해 메시앙은 <시간의 종말을 위한 4중주>의 폴리리듬(서로 대조가 되는 리듬을 동시에 사용하는 방식)의 구조를 심어두었으며, 이후 작품에서도 이런 구조는 매우 중요한 요소로 부각되었다. 메시앙은 또한 리듬 구조를 화성과 선율과 별개로 독립하여 다루길 원했는데, 이는 "[메시앙이] 작곡할 당시에는 몰랐지만 기욤 드 마쇼 (1300-1377)의 작품에서 볼 수 있는 방식"이었다.
(중략)
이 4중주에 수록된 악장들은 저마다 흥미로운 관계로 역여 있다. 2악장은 7악장과 테마상 연관되어 있고, 3악장과 6악장은 둘 다 단선율(3악장은 클라리넷 독주, 6악장은 4대 악기가 옥타브로 연주함)로 이루어져 있으며, 4악장 (이전에 작곡된 짧은 삼중주)은 3악장 및 6악장과 테마상 엮여 있다. 5악장과 8악장은 비슷한 스타일에 느린 템포, E장조 조성, 현악기 독주와 피아노로 이루어진 연주, 그리고 신학적 근간을 가지고 있다는 점에서 서로 관련이 있다.
'2015 대관령국제음악제 프로그램북 발췌'
- 글 제인 비알 제피 Jane Vial Jaffe (번역 음악칼럼리스트 노승림)
https://www.youtube.com/watch?v=dUvZtIbLk80
da meaning in work 在 Lindie Botes Youtube 的精選貼文
TRANSLATION:
Hello. My name is Lin Mei Han. That's my Chinese name. English is Lindie. I am South African and I am a university student, I study Graphic design, but my hobby is foreign languages. So I also study Chinese ..for..one year? I don't now. But Chinese its very difficult,my pronunciation is really bad. But I have a lot of Chinese friends, so if they can't speak English (meaning those who can't), I want to (be able to) speak Chinese to them. I also am an English teacher, and my students are all Chinese. When I teach them English, they can also teach me Chinese. If I have money, I want to go to China to study Mandarin and Cantonese. Cantonese is really difficult! But it's my hobby, I really like studying. In South Africa there are lots of Chinese people. I have a dream and that is to (be able to) speak Chinese and make chinese friends..ah, I don't know.. I want to.. I don't know. For this video I didn't prepare (anything), I am just speaking (as I go along). Friends, please help me! Thanks, bye-bye!
^What I wanted to say up there but didn't have time to look in a dictionary or something, was that I want to be able to tell Chinese people more about my country and build better relationships with the nation. I also want to share the Good News with them and be a light for the world through using my languages to honor the Lord. But I don't know how to say that yet, haha!
你好!谢谢看了~Thanks for watching and I appreciate all help! 请帮助我学中文啊~~I didn't even look up a single word before making this video and have been out of practice for a while, but then this is an honest representation of my level of Mandarin at the moment. 不好得。。哈哈哈
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