Opening: Saturday August 26th 6pm
Buenos Aires in the 1970s. José journeys through that decade with the inseparable company of his camera. Spontaneously and haphazardly, he captures the everyday life of those years that would indelibly mark our history. He is not attempting to document or provide testimony; he is a protagonist who, much like someone keeping a personal diary, offers an account of the unfolding events around him. There are those moments in which naivety, playfulness and love gradually yield to the approaching saturnine twilight.
Fifty years later, this set of trivial photographs, captured without formal or stylistic concerns - some out of focus, others blurred or bearing the traces of time - are brought back to life by José Broide. This action enables the perception of images as the flash that Benjamin speaks of, where the times and the folds of the past surface fleetingly. A past, a history overdetermined by resonances -of disappearances, deaths, torture and exile. Which of these faces are those of Diego, Abel, Dumbo or Professor Eduardo, all of whom have disappeared? Which are those of Gaby or Laura, once abducted and then released? Didi-Huberman contends that the power of the image has the capacity to disturb and rekindle thought on all levels. This is what José Broide's proposal unleashes, with a re-signification of gestures, looks, smiles, out-of-focus images…
Eduardo Gil
