DAVID CORONA (Guadalajara MX, 1968-) | TIDE SERIES

We cordially invite you to

DAVID CORONA (Guadalajara MX, 1968-) | TIDE SERIES

OPENING Saturday June 13th (12-15 hours), 2009
Until July 3rd, 2009


| EDS | GALERIA * Atlixco 32 * Entre J. Escutia y A. Sola * Condesa * México D.F. * Tel. +52562316

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David Corona’s name as an author is already known and respected in the realm of Mexican photography.  He was educated in visual arts (at the Escuela Nacional de Artes Plásticas – National School of Plastic Arts) and participated in Fotoguanajuato, a successful artistic and professional education program for photographers. He has received grants in several state institutions and has exhibited his work in different locations in Mexico and abroad. His work shares a trend that has become consistent in Mexican contemporary photography: the construction of tales supported by an ambiguous, densely symbolic iconography and marked with a dramatic character.
In David Corona’s case, the center of this iconography is the urban space, which he represents as an unreal or mythological space in a final instance. The scenes seem to announce the arrival of new cults, new ceremonies, of an alternative rituality. Or, the sites are occupied by architecture and artifacts, or by structures that sometimes impose themselves and in which there is always a remainder of decadence; as if ruin were the unavoidable destiny of the utopia. These spaces can not be seen without feeling the weight of a visual culture marked by apocalyptical references. This is what gives the premonitory tone to many of these representations, extracted, not from the immediate experience, but from the imagination.
An issue that has seemed to me as one of the most original in this way of addressing the urban landscape is precisely the ambiguity between landscape and passage. Many of David Corona’s photographs show spaces of transit and, overall, places of transition or places of passage: big doors, hallways, staircases, streets or roads, entry or exit doors. They are not places where one stays, completely the opposite: these are spaces where it is not possible to stay, or if so, it would be absurd. The characteristics of these places are summarized in the concept of the “no place”, which was made popular by Marc Augé, and which is more and more adequate to understand the relationship of photographic representation with the contemporary individual’s experience of the spatial-temporary.
The places represented by the Mareas (Tides) series have all these features of the absurd and of impossibility. They also have an aura of catastrophe and of a moment without repair. The author does not reach these representations by means of the reproduction of what is real, but more so by reproducing an intervention mechanism - totally assimilated by contemporary art- in what is real. In that sense it is a proposal of intervention as well as of simulation.
The photographer’s eye no longer looks to remember to reproduce (and to reproduce to remember again), it searches to intervene, modifying the memory. From such concept it stems that these photographs leave a very little opportunity for nostalgia.  Because water, seems to be here, in a final instance, an element that erases the past and annihilates any possibility of return.

By Juan Antonio Molina

 

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