He Center d’Art Tecla Sala de l’Hospitalet de Llobregat all des d’aquest saidus the retrospective exhibition Pilar Aymerich. Viscuda Memorythrough which the photographer’s work is reviewed with 150 snapshots from the 60th end of the present. The exhibition brings together portraits published in newspapers and magazines. The Country either Serra d’Orhere are the moments of the last century, the demonstrations on the streets of Barcelona in the 1970s and the everyday moments of Fidel Castro’s Cuba.
With a vision of dona and profitant the seves dots d’actriu to go unnoticed and immortalize the events of the dins, Aymerich is a reference for the photography of the country, fet qual lvan reconèixer l’any 2021 the National Photography Prize.
The exhibition is co-produced with the Círculo de Bellas Artes of Madrid and in collaboration with La Fábricaand includes the artist’s original material, 150 photographs, a documentary and a film, among others. Throughout a tour designed in the form of a ziga-zaga, the history of Aymerich is reviewed through its lens, from the first countries to the end of the 1960s portraying scenes from contemporary theater.
“And I remember with a sense of possession, there are 50 years that you have in your archive, in the depths, in your memory, and you have to feel a certain satisfaction because you have seen photographs,” Aymerich explained in statements to theACN. “Photography has filled my life,” he said.
“Photography has filled my life”
His professional growth will continue in the 70s, in which, as a camera, he will participate in demonstrations to offer a different image, from experience and in the first person. “Hi there are people who are many great photographers who arrive, fan of the photo I leave, I always have more to do with making mistakes, or why if you are not there and you can make mistakes more and more if you are not there either “You have just captured reality,” he pointed out.
There is a simile between a demonstration and a play: “There is a beginning, a culminating point and an end, and all you aspire to have is the culminating point, but by all means you have to be inside the manifestation, or at inside the fet, or when you make a portrait, to know who you make the portrait of, to have arrived or to have seen the painting, you have to inform”, he has detailed.
It has also benefited from a differential fet, being a dona with a camera in a world and a sector on which it predominated. “It has benefited me because you are the exception, because the one who wanted to be invisible, who always said that sometimes the photographers with all these cameras, the arms, the boats that soroll fan, are them the spectacle, and jo It was supposed to be a girl who passed by there and that no one bothered her and that she wanted to keep her feina,” he said.
An invisibilitat that, as a joke, said that ara, in the 80s, is attributed to the advanced age. But at the age of 70 she had to work: “She didn’t run to the demonstrations, she went to the camera and couldn’t, and the one who looked was very well dressed, she didn’t go to the press photographer’s senyalitz, she stayed away “I played, I had a compact, I had a painted key, I was painted the key, and I looked like it was not part of the demonstration,” explains the exhibition commissioner, Neus Miro.
Aymerich admitted the mischief, that he believed that the veiessin with sympathy and end and all grace, and that for example pogués arrived to file an interview request with Montserrat Roig to one of the ministers of the government of Fidel Castro. “If you make a home you can’t find anything,” said the photographer.
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