B&WConceptEuropeAmorfo: weightless, formless and moving object of photography by Žilvinas Kropas & Guillermo Alvarez

How does one portray movement, or a weightless or a formless object? It is probably the most complicated task that photography has been trying to cope with since the early history of its development.

How does one portray movement, or a weightless or a formless object? It is probably the most complicated task that photography has been trying to cope with since the early history of its development.

It is clear that the photography media does not register the moment in which the duration of movement becomes an eternalized object expanded through the flow of time. Though photography immortalizes only a fraction of a second, which is a fraction of the movement, yet this difference that exists between a photographic and a cinematographic frame does not prevent us from imagining and reflecting on an ongoing and perhaps never-ending movement and the phenomenon of movement in general. These thoughts on an object that is weightless, formless and frozen in the moment of movement have been provoked in my mind by the international artistic duo – Lithuanian Žilvinas Kropas and Argentinian Guillermo Alvarez. They have been developing the photographic cycle Amorfo for some time now. 

Before moving on to the analysis of their work, it is important to note the essential facts of the two artists’ biographies. Guillermo Alvarez is a professional artist and teacher who lives and works in Buenos Aires, Argentina. He curates art events, organizes seminars and creative projects. He is currently the creator and main lecturer of the cultural project of visual art Camara Viajera. The artist has graduated from audio-visual media studies. Usually Guillermo Alvarez applies ancient, alternative photographic techniques – pinhole, wet collodion, cyanotype, etc. Since 2014 he participates in group exhibitions in Argentina, Mexico, Ecuador. In 2010 – 2017 Alvarez worked as a teacher of photography and alternative photographic methods. In 2015 the artist received the national award for his work in public schools. (1)

Žilvinas Kropas lives and works in Panevėžys, he is an educator and creator of alternative photography. Since 2012 the artist is a member of Panevėžys Photography Society, since 2017 – member of Gabriele’s Art Gallery (Kaunas). In 2019 he was awarded the status of Art Creator by the Lithuanian Ministry of Culture, and in 2020 Žilvinas Kropas became a member of Lithuanian Photography Association. The artist arranges personal exhibitions and is an active participant in collective exhibitions; his photographs have been exhibited in Lithuania, Poland, United Kingdom, South Korea, Vietnam, Argentina, Chile, Mexico, Belarus, etc. The creative work of Žilvinas Kropas is extensively covered in the cultural press of Lithuania, USA, France, Spain, Mexico, etc.

In the majority of photographs of the Amorfo cycle we see portraits with effuse contours, indistinct details, faces registered in a random move. The moving subjects or persons could be named unrecognized objects. This observation relates to the terms of photography analysis discerned by the philosopher Roland Barthes (1915 – 1980) (2) . Visible forms can be described as corpus, which stands for the outer body of the past that is restored to our present through an image. Interestingly, the images created by this artistic duo may be regarded as crooked mirrors that help the bodies of the past to deform, to acquire unusual shapes suggestive of fluid or fog. The fog metaphor is really relevant, because in real life objects covered by fog obtain a fragile, temporary and disintegrating view. Fog shows us the fragility, instability, movement of reality, its dependence on the changes of space and time. The international artistic duo behaves in the same way with the faces they portray. 

If we agree with Barthes’ idea that corpus restores the outer body of the past through an image, we should also relate the visible deformation of the image to another concept proposed by the thinker, sténopé. It designates the hole of the lens and can be perceived as an indirect link to the phenomenon of camera obscura that marks the beginning of the technology. Consequently, the artistic duo tells us that though the very media of photography has always been trying to represent the reality as precisely as possible, yet it could never achieve absolute objectivity. The moment of replacement of reality is always there. In the audio-visual discourse everything exists in relation to the migration of visual information from space into plane, where the reality-scratching, natural, self-contained and not always programmatically anticipated moment of a mistake occurs. Kropas and Alvarez denude the mistake, they enlarge it and demonstrate it to us not as a phenomenon of a technical solution, but as an aesthetic approach. Amorfo emphasizes the photographic conflict of an object and a subject during the moment of transformation from life in to non-living and vice versa. 

R. Barthes has also noted that photographic images enhance the category of spectrum, i.e. the image features something that is similar to a spectre and operates like in a spectacle. The registered object performs the reality for us. Thus in photographs we see ‘another’ that points to the separation between consciousness and identity.

R. Barthes also spoke of the two layers that can be found in the photographic image – studium and punctum. The philosopher says: 

Studium (lot.) – […] doesn’t mean, at least not immediately, “study,” but application to a thing, taste for someone, a kind of general, enthusiastic commitment, of course, but without special acuity. It is by studium that I am interested in so many photographs, […] it is culturally (this connotation is present in studium) that I participate in the figures, the faces, the gestures, the settings, the action.

Punctum (lot.) – […]  it is not I who seek it out (as I invest the field of the studium with my sovereign consciousness), it is this element which rises from the scene, shoots out of it like an arrow, and pierces me. […] it also refers to the notion of punctuation, and because the photographs I am speaking of are in effect punctuated, sometimes even speckled with these sensitive points […] This second element which will disturb the studium I shall therefore call punctum; for punctum is also: sting, speck, cut, little hole – and also a cast of the dice. A photograph’s punctum is that accident that pricks me (but also bruises me, is poignant to me). (3)

Studium in photographs, according to Barthes, is everything that can be objectively discussed (composition, light, form, contrast, colour palette, etc.), while punctum is what seems to be “cracking” in the photographic narrative, i.e. the registered moments, discerned elements producing meaningful and suggestive associations that may be interculturally recognizable and are easily identified. They can also be aggressively provoking personal insights and observations quite distant from the shapes formally registered in the image. I have to note that the photographic dialogue of Kropas and Alvarez lead me towards the labyrinths of punctum.

Now let us talk about the phenomenon of the portrait that Kropas and Alvarez deconstruct in their works. The portraits that they create invite not the questions about what is depicted in the photograph, what identification elements allowing to name a personality dominate, but they invite to actualize what is happening to us, the viewers. Here it is important how we accept the fearful, formless faces in the image that seem to represent half-dead-half-alive ghosts. This transparent, scattered portrait is much more intimate than the one where a person can be easily identified. It is because Kropas and Alvarez create images enshrouded in mystery. Here from the very start of the act of looking till its very end strangers remain bizarre anonyms, non-named others. 

Reflecting on the phenomenon of movement in photography the work of Kropas and Alvarez directs us to Henri Bergson (1859 – 1941) (4). The thinker considered creativity the highest value that distracts a human being from his quotidian life, transferring him into the spiritual layer of reality perception. In this way one’s personal “I” and its relation to the present world disappear. Through creation the dramas of the inner world unfold, like the necessary supplement that allows the understanding of reality and personal improvement, related to time and duration. Here duration is the dominant element, divided into two sub-elements: the real duration (creation) and just duration (the creative principle characteristic to the field as the cinematographic movement) (5). In this case it is possible to claim that Kropas and Alvarez prefer the just duration that affects us, even though it is expressed in a single photographic shot. The just duration is characterized by division, distribution and combination (6). So if we look at the works of both artists exhibited in one space, we will definitely experience the impression of the just duration, as the sequence of images in the exhibition may be changed and reassembled anew; shots located next to one another create a contrast and a common linear narrative at the same time. 

The real duration should be perceived as the creator’s intuition, and in the just duration Kropas and Alvarez demonstrate their intellect, ability to grasp the moments in time, to separate, divide them and eternalize in an image. Therefore the totality of the work of the two artists may be regarded as a cinematographic tape or a kaleidoscope of images where spectres that cannot be easily identified appear, scratching on the surface of our reality and forcing us to think about its realness, or perhaps falsification. [Prof. dr. REMIGIJUS VENCKUS |  Humanitarian sciences, Art criticism (03H). Art history (H310)] 

(1) Alvarez, G., Kropas, Ž., Venckus, R. (2021-01-20). Correspondence by e-mail.

(2) Barthes, R. (1982). Camera lucida: Reflections on Photography. New York: Hill and Wang. Translated by Richard Howard.

(3) Ibid, p. 26 – 27

(4) See Bergson, H. (2004). Kūrybinė evoliucija (Creative Evolution). Vilnius: Margi raštai. Translated from French by Petras Račius.

(6) Andrijauskas, A. (2008). Gyvybinis polėkis: Bergsono filosofijos interpretacijos (The Rush of Vitality: Interpretations of Bergsonian Philosophy). Vilnius: Lietuvos kultūros tyrimų institutas,p. 41.

Gallery

SOLO EXHIBITION

EACH MONTH, THE MOST VALUED PROJECT WILL RECEIVE AN INDIVIDUAL EXHIBITION IN OUR GALLERY.

DEADLINE: WEDNESDAY, SEPTEMBER 15, 2021

PHOTO: © VICKY MARTIN
https://www.dodho.com/wp-content/uploads/2020/12/BAnImage.jpg

ImageRights provides intelligent image search and copyright enforcement services to photo agencies and professional photographers worldwide.

https://www.dodho.com/wp-content/uploads/2020/03/Landscape-and-Nature-dPS-Photography-Course-300x250-1.jpg

Landscape & nature photography is one of the most challenging genres and disciplines to learn, and the costs of getting it wrong can be disappointing

300x250

With ON1 Photo RAW you get the professional photo editing tools every photographer needs to get professional results while keeping your workflow.

https://www.dodho.com/wp-content/uploads/2021/07/banner-300.jpg

Call For Entries #18 | After 17 editions and more than 100 published photographers, our print edition has proven to be a simply effective promotional channel.

RELATED STORIES
Cognitive Bodies Fine Art Photography series By Marta Kochanek

EuropeNudeCognitive Bodies Fine Art Photography series By Marta Kochanek

The aim of the project was to capture a very sensual collaboration of the human’s body and extreme emotions that expresses both the physical and spiritual harmony.
Chatting with Richard Heersmink

DnaEuropeChatting with Richard Heersmink

In my street photography, I’ve no particular strategy. I usually just take my camera, walk around in the city and see what happens.
In the heart of the Omo valley tribes by Benjamin Angel

EuropeShotIn the heart of the Omo valley tribes by Benjamin Angel

The Omo Valley, located in the south west of Ethiopia, is home to a number of fascinating tribes, which have kept their traditions and a spectacular appearance. This photographic project  is built around two tribes, the Mursi and the Karo.  All photos have been taken in natural conditions, with the consent of the villagers.
Kabuki players by Hiroshi Watanabe

AsiaB&WFeaturedShotKabuki players by Hiroshi Watanabe

Those Kabuki players seen in the photographs are not with the mainstream Kabuki companies in Tokyo. They are with localized small groups located in various parts of Japan.
https://www.dodho.com/wp-content/uploads/2021/04/instagram.jpg
1Street Hong Kong by Manu Grinspan

CityEurope1Street Hong Kong by Manu Grinspan

I seek to display atmospheres and fleeting feelings, as suspected in the air of big cities. These special atmospheres we are unable to shake off, which form the soul of a city by intermingling with its architecture and climate - a true celebration of the diversity of urban life.
Gittan Beheydt : A perception of the world as I see him

ConceptEuropeGittan Beheydt : A perception of the world as I see him

At a very young age I received my very first Kodak, it made me look differently to the world, seen true a very small hole it narrowed my view and showed only the things I wanted to see.
TRENDING STORIES
Sulaiman Almawash ; Photo manipulation and Art

AsiaConceptSulaiman Almawash ; Photo manipulation and Art

This art Wonderful because it involves the creation of unique images, i like this arts ( photo manipulation art and surreal art , conceptual art). This arts blends reality with illusion to create something truly remarkable.
Siggi’s World by Frédérick Carnet

EuropeStorySiggi’s World by Frédérick Carnet

Siggi is a strange person who can’t let you staying stoical. The day after my arrival in Iceland, at Grindavìk campsite, I meet Jeff, a Quebecer.
White Nile by Ana María Robles

AmericaB&WFeaturedStoryWhite Nile by Ana María Robles

In a hollowed trunk as a way of the canoe, we cross one of the White Nile branches.  Rushing river leaves, among its branches, fertile islands occupied by a community living in subsidiaries sharing everything, utensils, blankets, instruments and collaborating in the ancient daily chores. It is the "Mundari" territory, nomadic shepherds of the Nile.
Everyday life; Our summer stories by Kata Sedlak

B&WFeaturedStoryEveryday life; Our summer stories by Kata Sedlak

The idea behind the photo series "Our summer stories" came to existence after my three-year break - the maternity leave.
Five minutes with García de Marina

DnaEuropeFive minutes with García de Marina

My author name is Marina Garcia. I was born in Spain in 1975. Photography is a hobby for me now. Myself known through social networks in 2012 when I created my Facebook page.
Kenya -Mathare valley; Everydaydream by Claudio Allia

ConceptEuropeKenya -Mathare valley; Everydaydream by Claudio Allia

Mathare valley is a large settlement which has about 500,000 inhabitants crammed into tiny wattle, tin and cupboard shacks in a hilly area that looks to be less than a square mile.
Kabuki players by Hiroshi Watanabe

AsiaB&WFeaturedShotKabuki players by Hiroshi Watanabe

Those Kabuki players seen in the photographs are not with the mainstream Kabuki companies in Tokyo. They are with localized small groups located in various parts of Japan.
Holbav, the Land Where the Soul Floats by Andrei Baciu

BioEuropeHolbav, the Land Where the Soul Floats by Andrei Baciu

At first, there was a discreet rustle, as short as it was concrete. I was very tired, since, as usual, I had woken up in the middle of the night, driven for about three hours, climbed gaspingly the hills of Holbav because my heart wouldn’t let me stop and risk missing the sunrise while in the shade of the valley
Death and Transfiguration by Diane Kaye

AmericaB&WConceptDeath and Transfiguration by Diane Kaye

Beginning in 1980 I trained enthusiastically in gelatin silver printing with several master printers. Today, in making an archival monochromatic pigment print
FEATURED STORIES
Wildlife photography; Land of Giants by Will Burrard-Lucas

B&WBioEuropeFeaturedWildlife photography; Land of Giants by Will Burrard-Lucas

These photographs are part of a larger series documenting the elephants of Tsavo and the work of Tsavo Trust. The full series is published in a new book titled “Land of Giants”.
Under the sign of the rat; Roger the Rat by Roger Ballen

AmericaB&WConceptFeaturedUnder the sign of the rat; Roger the Rat by Roger Ballen

Surreal, refined, disturbing: Roger Ballen has made a name for himself with his special eye for what is usually considered minor or outside, yet is nevertheless profound and touching.
Intimate portraits of animals; Behind Glass by Anne Berry

B&WBioEuropeFeaturedIntimate portraits of animals; Behind Glass by Anne Berry

Behind Glass is a collection of photographs made in monkey houses of small zoos throughout Europe. Anne Berry is recognized for her ability to create lyrical, intimate portraits of animals.
Fictional narrative photography; Birth Undisturbed by Natalie Lennard

ConceptEuropeFeaturedFictional narrative photography; Birth Undisturbed by Natalie Lennard

Birth Undisturbed is a fictional narrative photography series by Natalie Lennard, that brings scenes of natural childbirth into cinematic fine-art tableaux.
Japanese Aquariums by George Nobechi

AsiaFeaturedStoryJapanese Aquariums by George Nobechi

Japanese Aquariums is a journey into some of my oldest, most treasured childhood memories. Whenever I visited my grandparents in the small, northern Japanese city of Otaru, my grandfather, a high school teacher and an enormous influence in my life, would take me to the aquarium.
Greenland; Stories from the Sea by Camille Michel

EuropeFeaturedStoryGreenland; Stories from the Sea by Camille Michel

Greenland became politically independent from Denmark in 1979 and is slowly getting on the path to economic independency. The ‘ice country’ is currently facing the consequences of climate change.
Intimate diary; Jazz Notes by Giuseppe Cardoni

B&WEuropeFeaturedShotIntimate diary; Jazz Notes by Giuseppe Cardoni

It is a declaration of love by Giuseppe Cardoni, but also by an Italian region, Umbria, which has always hosted the most important jazz festivals and where the author took most of his photographs.
Guatemala; Until the corn Grows Back by Lys Arango

EuropeFeaturedStoryGuatemala; Until the corn Grows Back by Lys Arango

Until the corn Grows Back; Lys Arango’s project was selected and published in our print edition 16. Criminal violence in Central America was something that happened very far away and that explained, according to the media, the gigantic caravans of migrants that from 2017 began to travel thousands of kilometres to reach the United States
Greatest jockeys; Fortza Paris by Marco Cheli

EuropeFeaturedStoryGreatest jockeys; Fortza Paris by Marco Cheli

Fortza Paris; Marco Cheli’s project was selected and published in our print edition 16. Over the years, until today there are many young Sardinians, specifically from Barbagia, who leave their island with the dream of becoming a jockey of the Palio di Siena.
https://www.dodho.com/wp-content/uploads/2021/06/getty-images.png
https://www.dodho.com/wp-content/uploads/2021/06/black-eye.png
https://www.dodho.com/wp-content/uploads/2021/06/Edelman-Gallery.png
https://www.dodho.com/wp-content/uploads/2021/06/Medium.png
https://www.dodho.com/wp-content/uploads/2021/06/Opiom.png
https://www.dodho.com/wp-content/uploads/2021/06/Filter-Photo.png
https://www.dodho.com/wp-content/uploads/2021/06/head-on.png
https://www.dodho.com/wp-content/uploads/2021/06/Photo-independent.png
https://www.dodho.com/wp-content/uploads/2021/06/lagos-photo.png
https://www.dodho.com/wp-content/uploads/2021/06/gtb.png
https://www.dodho.com/wp-content/uploads/2021/06/IPA.png
https://www.dodho.com/wp-content/uploads/2021/06/in-focus.png
https://www.dodho.com/wp-content/uploads/2021/06/image-rights.png
https://www.dodho.com/wp-content/uploads/2021/06/riga.png
https://www.dodho.com/wp-content/uploads/2021/06/BGD.png
https://www.dodho.com/wp-content/uploads/2021/06/ICP.png
https://www.dodho.com/wp-content/uploads/2021/06/Mifa.png
https://www.dodho.com/wp-content/uploads/2021/06/miami.png
https://www.dodho.com/wp-content/uploads/2021/06/viewbug.png
https://www.dodho.com/wp-content/uploads/2021/06/OFF.png
https://www.dodho.com/wp-content/uploads/2021/06/KLPA.png
https://www.dodho.com/wp-content/uploads/2021/06/rotterdam.png
https://www.dodho.com/wp-content/uploads/2021/06/Photo-Nola.png
https://www.dodho.com/wp-content/uploads/2021/06/clampart.png
https://www.dodho.com/wp-content/uploads/2021/06/dripbook.png
OTHER STORIES
X
stay in touch
Join our mailing list and we'll keep you up to date with all the latest stories, opportunities, calls and more.
We use Sendinblue as our marketing platform. By Clicking below to submit this form, you acknowledge that the information you provided will be transferred to Sendinblue for processing in accordance with their terms of use
We’d love to
Thank you for subscribing!
Submission
Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted.
- Between 10/30 images of your best images, in case your project contains a greater number of images which are part of the same indivisible body of work will also be accepted. You must send the images in jpg format to 1200px and 72dpi and quality 9. (No borders or watermarks)
- A short biography along with your photograph. (It must be written in the third person)
- Title and full text of the project with a minimum length of 300 words. (Texts with lesser number of words will not be accepted)
This is the information you need to start preparing your project for its presentation
To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.
Issue #14 | September 2020
Current Issue
Vicky Martin
Ryotaro Horiuchi
Susanne Mildeelberg
Diego Bardone
Nicky Hamilton
Alain Schroeder
Printed on 80# matte paper 22x28cm | 100 Pages
Showroom
September 7 to October 31, 2020
Julia Fullerton-Batten
LOOKING OUT FROM WITHIN
Get in touch
How can we help? Got an idea or something you'd like share? Please use the form, or contact hello@dodho.com
Thank You. We will contact you as soon as possible.
Dodho Magazine is pleased to announce the new call for the photographers selection from all over the world that will be presented in an exceptional edition.
Deadline: Monday, November 30, 2020
Photo by ©Ryotaro Horiuchi | Japan | Issue#14
Dodho Magazine is pleased to announce the new call for the photographers selection from all over the world that will be presented in an exceptional edition.
Deadline: Monday, November 30, 2020
Photo by ©Ryotaro Horiuchi | Japan | Issue#14
CALL
FOR ENTRIES
Dodho Magazine is pleased to announce the new call for the photographers selection from all over the world that will be presented in an exceptional edition.
Are you ready?
Deadline: Monday, November 30, 2020
Contact
How can we help? Got an idea or something you'd like share? Please use the adjacent form, or contact contact@dodho.com
Thank You. We will contact you as soon as possible.
Submission
Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted. This is the information you need to start preparing your project for its presentation.
To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.
NEW!
FOLLOW US.
Subscribe now and get a free access to a curated list of resources.
Feel free to contact.
2017 (C) All rights reserved.
ghfd