Oh, yes, the good old times -when I used to write posts telling the world my photowisdom- are gone.
Now this in no longer a blog. This is a news page where I share whatever I am doing (and I'm proud of).
That is why the front page stays unchanged for weeks and weeks. One can't be doing cool stuff all the time. No matter how hard I try, I am always trapped between the last cool thing I did and the next one. In between there is a lot of email writing, researching and of course, real life.
A few days ago I was in Barcelona for the opening of the Foto Colectania Foundation exhibition "Here and Now: spanish photobooks".
I particularly loved the place. Not enormous, not small either. A nice size, able to hold an 8 photographers exhibition without feeling overcrowded.
I'd say some 100 people came to the opening. We had an open debate between the photographers and visitors, among them Joan Fontcuberta, Ramón Reverté, Jesús Micó and other well known names among photobook lovers.
The conversation was mainly about wether this photobook boom is a real thing, or just another (PIGS style) bubble that is bursting at any moment. We also discussed how to make the non-insider buy photobooks. There were more that two opinions regarding this. From where I see it, a photographer should focus in matters that are interesting for everyone, try to package the story in a viewer friendly and not too expensive way, and of course, spend some time promoting the book. Whoever is not willing to include the viewer when thinking a new project should not complain if they sell less than 200 books.
I spent a few minues talking abouth The Pigs to journalists. They reacted with a few discreet laughs. I believe no matter how serious, or even sad your story is, people always enjoy funny anecdotes. You know what they say: people forget what you say, but they don't forget how you make them feel. So I try to make them feel ok.
I have translated The Pigs into an exhibition by photographing the magazine itself at two different distances. In one you see the whole spread, so the image is there, and the paper is there too. The paper form of the project is always present. The other close up is more dramatic: you can see the printing pattern, and even the macro details of the paper. I show 3 important things together: the image, the paper, and the detail you should pay attention to. Of course, anyone is welcome to think they would rather focus on some other parts of the photo. This will eventually lead me to make more closeups, and make the exhibition larger. One interesting thing is that you will never get the real aspect of the exhibition if you don't see it in person. A computer screen will always blend the dots of the printing grid, so there you have a reason to fly from wherever you are, go to Barcelona and spend a few minutes in front of The Pigs On a Wall.