{"id":650,"date":"2022-12-27T12:05:34","date_gmt":"2022-12-27T12:05:34","guid":{"rendered":"https:\/\/tirinha.com\/revisao-de-starr-chame-de-alguma-coisa-ou-nao-chame-de-nada-o-progresso-de-maika-carter\/"},"modified":"2022-12-27T12:07:00","modified_gmt":"2022-12-27T12:07:00","slug":"chame-de-alguma-coisa-ou-nao-chame-de-nada-o-progresso-de-maika-carter","status":"publish","type":"post","link":"https:\/\/tirinha.com\/pl\/650\/chame-de-alguma-coisa-ou-nao-chame-de-nada-o-progresso-de-maika-carter\/","title":{"rendered":"Nazwij to jako\u015b lub nie nazwij tego niczym: post\u0119p Maiki Carter"},"content":{"rendered":"
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Maika Carter, <\/span>z <\/span>Nazwij to jako\u015b albo nie nazwij tego niczym.<\/i><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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Widok na galeri\u0119 \u015bcienn\u0105 u Maiki Carter Po\u0142\u0105czy\u0107
\nTo co\u015b lub nazwij to niczym<\/i><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

W ma\u0142ej sali projektowej w galerii Columbus College of Art and Design niedawni absolwenci Maika Carter<\/b> daje sw\u00f3j pierwszy solowy wyst\u0119p, Nazwij to jako\u015b albo nie nazwij tego niczym, <\/i>do 20 lutego. Nie spotka\u0142em si\u0119 z tym zbyt du\u017cym rozg\u0142osem, ale ciesz\u0119 si\u0119, \u017ce mog\u0119 rozpozna\u0107 to dzie\u0142o kwestionuj\u0105ce pi\u0119kno i dojrza\u0142o\u015b\u0107.<\/span>
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Spektakl organizowany jest w \u00f3semce<\/span>
\nrozdzia\u0142y fotograficznej narracji. Jego przej\u015bcie od tematu do tematu jest jasno okre\u015blone; Tre\u015b\u0107 ka\u017cdej jednostki jest przedstawiona w formie wyra\u017anych, efektownych obraz\u00f3w, a przechodzenie od sekcji do sekcji sprawia wra\u017cenie organicznego. A co najwa\u017cniejsze, ostatni rozdzia\u0142 stanowi syntez\u0119 wszystkiego, co by\u0142o wcze\u015bniej. <\/span>Co to doda\u0142o? Co\u015b istotnego i prawdziwego w przyziemnej i swobodnej formie? A mo\u017ce afirmacja sensu trywialnej akumulacji \u017cycia? <\/span><\/p>\n\n\n\n\n
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Maika Carter, <\/span>z <\/span>Nazwij to jako\u015b albo nie nazwij tego niczym.<\/i><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


\n<\/span><\/p>\n

Pierwsza grupa fotograficzna \u2013 sk\u0142adaj\u0105ca si\u0119 z obraz\u00f3w du\u017cych i ma\u0142ych, spl\u0105tanych i przypi\u0119tych w przemy\u015blane grupki na \u015bcianie \u2013 przedstawia buty, w wi\u0119kszo\u015bci puste. Czarno-bia\u0142a fotografia balet\u00f3w ustawionych naprzeciw siebie poprzez szczelin\u0119 w asfalcie sprawia wra\u017cenie pewnej prostoty. Rozpoczynamy marsz lub wycieczk\u0119, ale ju\u017c od pierwszego kroku pojawia si\u0119 kwestia kierunku i celu. Jak wype\u0142nimy nasze buty, jaki jest cel, dok\u0105d p\u00f3jdziemy? Fotografie Cartera, czarno-bia\u0142e zmieszane z innymi w mocnych, nasyconych kolorach, nie sugeruj\u0105 mi niejednoznaczno\u015bci tak bardzo, jak sugeruj\u0105 bardzo ludzki stan zapa\u0142u i determinacji, nawet w przypadku braku mapy. Wszystkie obrazy s\u0105 pogrubione. Czy pomieszanie kierunk\u00f3w but\u00f3w oznacza szale\u0144stwo lub niezdecydowanie? A mo\u017ce po prostu fakt, \u017ce \u017cycie nie oferuje \u017cadnego kierunku?<\/span><\/p>\n\n\n\n\n
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Maika Carter, <\/span>z <\/span>Nazwij to jako\u015b albo nie nazwij tego niczym.<\/i><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Wkraczamy do rozdzia\u0142u 2 tylko po to, by znale\u017a\u0107 si\u0119 w miejscu Zaginionego, gdzie rzeczy znikn\u0119\u0142y lub znikaj\u0105 nam z pola widzenia. To grupa zdj\u0119\u0107, kt\u00f3ra nie chwyta Ci\u0119 mocnym przes\u0142aniem, ale b\u00f3lem smutku, kt\u00f3ry narasta w miar\u0119 zbli\u017cania si\u0119 do wielu ma\u0142ych obraz\u00f3w skupionych wok\u00f3\u0142 wi\u0119kszych. Wiele fotografii na tych \u015bcianach ma nie wi\u0119cej ni\u017c 3 cale kwadratowe. Kiedy Carter zamazuje tre\u015b\u0107, zwi\u0119ksza to intymno\u015b\u0107 mi\u0119dzy widzem a obrazem, co prowadzi do wi\u0119kszego oddzia\u0142ywania emocjonalnego. Obraz \u017c\u00f3\u0142tej ta\u015bmy ostrzegawczej przecinaj\u0105cej pozbawiony ozd\u00f3b plac wywo\u0142uje, zgodnie z sugesti\u0105, wi\u0119kszy smutek ni\u017c <\/span>chcia\u0142bym <\/span>ponure i drastyczne miejsce zbrodni.<\/span><\/p>\n\n\n\n\n
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Maika Carter, <\/span>z <\/span>Nazwij to jako\u015b albo nie nazwij tego niczym. <\/i>Grupa
\nzdj\u0119cie zawieraj\u0105ce artyst\u0119.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


\n<\/span><\/p>\n\n\n\n\n
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Maika Carter, <\/span>z <\/span>Nazwij to jako\u015b lub nazwij to jako\u015b
\nNic.<\/i><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


\n<\/span>
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\nAle nast\u0119pna cz\u0119\u015b\u0107 <\/span> kolorowy <\/span>fotografie poruszaj\u0105 nas w sposobie, w jaki reagujemy na album z du\u017c\u0105, szcz\u0119\u015bliw\u0105 rodzin\u0105. Carter zabiera nas do szerokiej gamy u\u015bmiechni\u0119tych krewnych i przyjaci\u00f3\u0142 z wielu pokole\u0144 \u2013 ludzi szcz\u0119\u015bliwych, \u017ce s\u0105 razem, szcz\u0119\u015bliwych, \u017ce robi\u0105 to, co robi\u0105, czuj\u0105cych si\u0119 wyj\u0105tkowi i kochani. Jestem pewien, \u017ce ta cz\u0119\u015b\u0107 wystawy nie pozostawi oboj\u0119tnego widza. Swobodna aran\u017cacja Cartera \u015bwietnie si\u0119 tutaj sprawdza, gdzie czujemy dobry humor i ciep\u0142o, tak\u017ce my. My\u015bl\u0119, \u017ce po cz\u0119\u015bci to skala obraz\u00f3w i fakt, \u017ce musimy podej\u015b\u0107 do nich z bliska \u2013 jakby\u015bmy przegl\u0105dali album z wycinkami \u2013 sprawia, \u017ce wydaj\u0105 si\u0119 one tak w\u0142\u0105czaj\u0105ce. Reagowa\u0142em na nie jak zdj\u0119cia nieznajomych, ale jak ludzie, kt\u00f3rych szcz\u0119\u015bciem dzieli\u0142em. Nie czu\u0142em \u017cadnych barier. Widz jest cz\u0142onkiem towarzystwa i jest szcz\u0119\u015bliwy, \u017ce mo\u017ce by\u0107 tam jako cz\u0142onek rodziny tych ludzi.<\/span><\/p>\n

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Maika Carter, <\/span>z <\/span>Nazwij to jako\u015b albo nie nazwij tego niczym.<\/i>
\nZbi\u00f3r fotografii przyja\u017ani.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Czy czytamy autobiografi\u0119, czy jeste\u015bmy bohaterami autobiografii artysty? Czy pod\u0105\u017camy za opowie\u015bci\u0105 Everymana? To pytanie nie mo\u017ce nie przychodzi\u0107 na my\u015bl w wielu momentach, ale szczeg\u00f3lnie wtedy, gdy narracja schodzi od pewnego dobrobytu spo\u0142ecznego do rozdzia\u0142u dos\u0142ownego wymazania \u2013 bagna przygn\u0119bienia, je\u015bli wolisz. <\/span>
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Maika Carter, <\/span>z <\/span>Nazwij to jako\u015b albo nie nazwij tego niczym<\/i><\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Carter dostarcza nam wielu atrakcyjnych obraz\u00f3w ludzi, ale z zamazanymi lub wyci\u0119tymi z kadru twarzami lub g\u0142owami. U\u015bmiechy i przyjazne kontakty znikn\u0119\u0142y w nowym \u015brodowisku izolacji i anonimowo\u015bci.<\/span><\/p>\n\n\n\n\n
<\/td>\n<\/tr>\n
Maika Carter, <\/span>z <\/span>Nazwij to jako\u015b
\nlub Nazwij to niczym.<\/i><\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Narracja toczy si\u0119 dalej w kilku innych rozdzia\u0142ach, w kt\u00f3rych z grubsza przeplataj\u0105 si\u0119 obecno\u015b\u0107 i nieobecno\u015b\u0107, mi\u0119dzy szcz\u0119\u015bliwie uspo\u0142ecznionym bezpiecze\u0144stwem a obrazami pustego i dryfuj\u0105cego spo\u0142ecze\u0144stwa. <\/span>
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\nSzczeg\u00f3lnie interesuj\u0105cy jest rozdzia\u0142 po\u015bwi\u0119cony samej fotografce. By\u0142oby wzruszaj\u0105ce, gdyby zdj\u0119cia nie by\u0142y tak odwa\u017cne i szczere. Jak zwykle wiele zdj\u0119\u0107 \u2013 du\u017cych i ma\u0142ych \u2013 jest inscenizowanych, ale widz musi dwa razy pomy\u015ble\u0107, aby zrozumie\u0107, \u017ce tematem jest artysta, wi\u0119c musia\u0142y zosta\u0107 zainscenizowane. Ka\u017cdemu z nich towarzyszy atmosfera ca\u0142kowitej spontaniczno\u015bci: grymasy, dramatyczne pozy, ale o walorach artystycznych daleko wykraczaj\u0105cych poza fotobudk\u0119. S\u0105 w istocie na tyle naturalne, \u017ce budz\u0105 w\u0105tpliwo\u015bci co do wszystkiego, co by\u0142o wcze\u015bniej. By\u0107 mo\u017ce program rzeczywi\u015bcie by\u0142 dzie\u0142em anonimowej osoby trzeciej.<\/span><\/p>\n\n\n\n\n
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Maika Carter, <\/span>z <\/span>Nazwij to jako\u015b albo nie nazwij tego niczym.<\/i><\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


\nZbi\u00f3r autoportret\u00f3w skupia si\u0119 na du\u017cych, rzeczywistych obrazach w kolorze i sepii, przedstawiaj\u0105cych artyst\u0119 w szpitalu, rekonwalescencj\u0119 po operacji jamy brzusznej. Jasno o\u015bwietlona sala szpitalna z zakrwawion\u0105 rurk\u0105 wychodz\u0105c\u0105 z jej brzucha jest wytr\u0105caj\u0105ca z r\u00f3wnowagi, z wyj\u0105tkiem tego, \u017ce ona wpatruje si\u0119 w kamer\u0119, jakby rozmawia\u0142a z Ty,<\/i> przyjaciel na tyle blisko, \u017ce mo\u017cna go odwiedzi\u0107. Przez ca\u0142y program by\u0142e\u015b wci\u0105gni\u0119ty w jej \u015bwiat i punkt widzenia, a teraz jeste\u015b tutaj, aby z\u0142o\u017cy\u0107 wizyt\u0119 pooperacyjn\u0105, kt\u00f3rej nie m\u00f3g\u0142by\u015b tolerowa\u0107 w przypadku nikogo innego ni\u017c tw\u00f3j najlepszy przyjaciel.<\/span>
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Maika Carter, <\/span>z <\/span>Nazwij to jako\u015b lub
\nNazwij to niczym.<\/i><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
<\/td>\n<\/tr>\n
Maika Carter, <\/span>z <\/span>Nazwij to jako\u015b lub
\nNazwij to niczym.<\/i><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Zanim dotar\u0142em do ostatniej cz\u0119\u015bci programu, wszystko, co wydarzy\u0142o si\u0119 wcze\u015bniej, przygotowa\u0142o drog\u0119 do bogatego rozwa\u017cenia propozycji tytu\u0142u, <\/span>Nazwij to jako\u015b albo nie nazwij tego niczym. <\/i>Fotografie w tym obszarze przewijaj\u0105 si\u0119 tam i z powrotem, a\u017c w ko\u0144cu ich przes\u0142ania niepokoju i nadziei w ko\u0144cu intuicyjnie si\u0119 \u0142\u0105cz\u0105. Artystka zadaje sobie pytanie, gdzie by\u0142a i czego do tej pory do\u015bwiadczy\u0142a, czym jest \u017cycie? Co\u015b albo nic? Mi\u0142o\u015b\u0107 czy anomia? Czy inwestujemy w przysz\u0142o\u015b\u0107? A mo\u017ce po\u0142o\u017cymy si\u0119 i zobaczymy, co si\u0119 stanie?<\/span><\/p>\n\n\n\n\n
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Maika Carter, <\/span>z <\/span>Nazwij to jako\u015b albo nie nazwij tego niczym.<\/i><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Krajobraz wybrany przez Cartera do tej ostatniej zadumy nie jest marzycielski, sielankowy ani pocieszaj\u0105cy. Obrazy s\u0105 miejskie, pomalowane sprayem, wytatuowane i wydaj\u0105 si\u0119 dalekie od pocieszaj\u0105cego poczucia porz\u0105dku i bezpiecze\u0144stwa klasy \u015bredniej, kt\u00f3re wielu z nas kojarzy z \u017cyciem i przysz\u0142o\u015bci\u0105, kt\u00f3ra oznacza \u201eco\u015b\u201d.<\/span>
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\nNie jestem pewien, czy Carter zna ksi\u0105\u017ck\u0119 Johna Bunyona. Post\u0119p pielgrzyma, <\/i>ale w tym serialu czuj\u0119 wi\u0119\u017a z opowie\u015bci\u0105 o pr\u00f3bach moralnych i odporno\u015bci. Artystka prowadzi nas przez osiem pasa\u017cy przyjemno\u015bci, zw\u0105tpienia i smutku. Nie zaprzeczaj\u0105c pi\u0119knu, nigdy nie przestaje lamentowa\u0107 nad jego brakiem. Przez ca\u0142y serial panuje spokojna, oderwana atmosfera akceptacji, niezale\u017cnie od tego, czy jeste\u015bmy \u015bwiadkami szcz\u0119\u015bliwego kole\u017ce\u0144stwa, czy te\u017c scen utraty to\u017csamo\u015bci.<\/span>
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\n<\/span>
\nMy\u015bl\u0119, \u017ce pierwszy solowy wyst\u0119p Maiki Carter to nokaut. Pokazuje swoje si\u0142y jako fotograf, gaw\u0119dziarz o doskona\u0142ym wyczuciu redakcyjnym oraz jako osoba posiadaj\u0105ca m\u0105dro\u015b\u0107 i intuicj\u0119, dla kt\u00f3rych jej umiej\u0119tno\u015bci s\u0105 wa\u017cne. Ja na przyk\u0142ad b\u0119d\u0119 z wielkim zainteresowaniem \u015bledzi\u0142 artyst\u0119, kt\u00f3ry od razu wykazuje si\u0119 tak\u0105 dojrza\u0142o\u015bci\u0105.<\/span><\/p>\n

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Maika Carter, <\/span>z <\/span>Nazwij to jako\u015b albo nie nazwij tego niczym.<\/i><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Maika Carter, z ksi\u0105\u017cki \u201eNazwij to czym\u015b albo nazwij to niczym\u201d. Widok na galeri\u0119 \u015bcienn\u0105 w Maika\u2026 <\/p>","protected":false},"author":1,"featured_media":651,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"http:\/\/4.bp.blogspot.com\/-b27U1jfEXgY\/VMZJvvSlySI\/AAAAAAAAG2o\/RvRtfRUqDl8\/w1200-h630-p-k-no-nu\/IMG_5734.jpg","fifu_image_alt":"","footnotes":""},"categories":[34],"tags":[],"class_list":["post-650","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","latest_post"],"yoast_head":"\nChame de alguma coisa ou n\u00e3o chame de nada: o progresso de Maika Carter - Tirinha.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/tirinha.com\/pl\/650\/chame-de-alguma-coisa-ou-nao-chame-de-nada-o-progresso-de-maika-carter\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Chame de alguma coisa ou n\u00e3o chame de nada: o progresso de Maika Carter - Tirinha.com\" \/>\n<meta property=\"og:description\" content=\"Maika Carter, a partir de Chame de alguma coisa ou chame de nada. 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