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Return to the Almería de Goytisolo through the Kodak Vicente Aranda

The minister bequeathed to the Andalusian center of Photography The images of the voyage of the author of ' Campos de Níjar ' and the filmmaker in 1960. The museum today opens a sample with that material

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Return to the Almería de Goytisolo through the Kodak Vicente Aranda
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The time of travelers discovering unknown, exotic places, anachronistic spread in south of Spain beyond nineteenth century. In late 1950s and early 1960s, in midst of Franco's dictatorship, Ulysses was Juan Goytisolo, who visited Almería on four or six occasions. Those fields of Níjar, sailor wind blowing whitewashed farmhouses and green pitas against dust of Earth moved writer's skin and opened way to Morocco, digging for seed. Almeria, as hurdes or suburbs of workers calling at gates of development in big cities were n object of artistic and intellectual gaze, also hurt. In 1960, one of those trips to South makes it Goytisolo accompanied by his/her friend Vicente Aranda, newcomer from Venezuela with one of those American cars of impossible wingspan and a Kodak camera. Today, Saturday, Andalusian Photography Centre (CAF in Almería) opens an exhibition with result of that tour. A graphic document by Vicente Aranda that complements literary sustenance that provided that land to work of his friend Juan. Although perhaps writer also gave button of Kodak. Can. How did those photographs end up re? That story has its one.

In 1985, Juan Goytisolo (Barcelona, 1931-Marrakesh, 2017) gave him a pack of photos and negatives to José Guirao, with whom he maintained a good friendship. "At that time I often saw him in Almeria, several times a year. When he gave me that he told me that y corresponded to four trips in late fifties and early sixties, one of which he had done with Vicente Aranda. I understand that photos revealed are de Aranda, which were published when he edited Campos de Níjar, but I think re are ors that are not of him, "says now Minister of Culture. A year before his appointment, Guirao donated all material to CAF, hence present exhibition.

And hence last woman of Vicente Aranda (Barcelona, 1926-Madrid. 2015), film editor Teresa Font, and daughters of both, discovered where y had gone to photos that several times Vicente claimed writer, until, finally, laziness He buried matter. "It has been speculated that photos were taken by John, but y are Vicente and his Kodak. It's ir settings and ir own gaze. That material was at home until Goytisolo asked m for a tribute or something y were going to do and lend m. " Indeed, Minister corroborates that some of m were exhibited in public Library of Almería. And re he lost his track. "What a joy to have found m. I couldn't imagine minister having negatives. If he has given it to us it is good, because Vicente would have agreed and his daughters are too, "says Teresa Font.

"The gift that John made to me was a sign of friendship for me and I know no better way to thank him for that friendship than to give back to Almeria testimony of sincere and profound love of John through se photos," says minister, who this Saturday will inaugurate Exposi Ción. And he adds, "If family wants to be a donor, I'm delighted too."

See Goytisolo Photogallery, flanked by two peasants, in a tavern in Campo de Níjar. VICENTE ARANDA

In 1959, Vicente Aranda returned from Venezuela, where he had been working for American company NCR with those supercomputers that occupied an entire room. The company gave him to earn good money as well as amenities that re was not at time in all Spanish houses, like a simple refrigerator. The one who later was a successful filmmaker, with films like lovers or libertarians, bought a car and brought it to Barcelona. "Goytisolo didn't have a car and by n y both traveled a lot. I have photos in Guadalajara, in many places. They met in Paris by mediation of writer Antonio Rabind (Barcelona), who introduced him to great intellectuals and introduced him to literary garings. And y ended up toger in Almeria.

The photographs show a Goytisolo made a bellezón, in midst of youth, among tanned field men, mustache and hat Borsalino, rural model. In a tabernilla with waiter. The writer has a deep look and shows integrated, comfortable, happy and perhaps thankful among those people. Or shots are from Paisanaje. Smiling children, well nourished, with ir sandals all of m, women of covered head washing clos, workers dignity in a landscape that time has given to aestics and poetry.

"There is not, indeed, a pessimist vision of an isolated and poor area where hunger is fattened. The photos show a more cheerful face than book published by Goytisolo, Campos de Níjar, and n Chanca, which are more desolate. In all this re is a lot of stereotyping, as in Buñuel's journey through Hurdes. Also in Africa are hungry and re is joy, "says CAF's director, Rafael Doctor, grateful for legacy.

Those photos had no artistic claim, y do not even respond to a documentary commission, are photos of two friends "in love with that area," says Teresa Font. Aranda had a far photographer and he inherited hobby: "His daughters were fed up, photo goes, photo comes, y say y barely saw him, but he did see m, has half life well documented," laughs Font.

To whom re is no doubt that photos are practically entirely of Vicente Aranda is to maestro Carlos Pérez Siquier, who directed with José María Arteo magazine Afal, which gave room to great photographers of time, who concentrated in a new look , so stark as aestics of Spain n. Pérez Siquier appreciates a way of doing common in se "bare and singular landscapes, in popular architectures, humanist images and children's joy", but claims that y are photos "taken with no pretensions stylistic, a little here I catch you, here you Mato ", which reminds him of anor filmmaker, Carlos Saura," latter more photographer and more beautician, "he adds. "But photos of Vicente Aranda, although of more careless settings, are very sincere."

As was trip, where Goytisolo "changed his skin literary, political and sexual," says Miguel Gallego, professor of literature at University of Almeria. "It is n and through se trips when he leaves café in Paris and goes to origin of his social conscience." When he digs on Earth until he reaches Morocco.

As a Buñuel in Hurdes

This year, University of Almería and Andalusian Centre for photography meet a quarter of a century. Celebrate this happy coincidence this exhibition and a careful edition of Campos de Níjar, accompanied by forty and Pico of those photos and has texts by José María Ridao, José Guirao, Maximo Rizzante, Milan Kundera and Miguel Gallego. Gallego, responsible for this edition, also highlights lack of artistic pretension in se photos, unpayable document, on or hand of trip and time. "It's more of a documentary follow-up, like still photos that accompany a movie.

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  • FOTOGALERÍAImágenes of exhibition ' Campos de Níjar '


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