Barbara Ghidini
Light into Matter
Checkers. What goes up?
2020-2021 – Checkers. What goes up?
Analog black and white photography, silver gelatin print and intervention in the digital scanner.
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The photo sequences are inspired by the cinematic sequences of the film ‘Le Sang d’un Poète’ and Jean Cocteau’s book ‘La Difficulté d’Être’.
FREE TO CHOOSE THE FACES, SHAPES, GESTURES, TONES, ACTIONS AND PLACES THAT YOU LIKE, YOU CAN USE THEM TO COMPOSE A REALISTIC DOCUMENTARY OF UNREAL EVENTS. – from ‘Le Sang d’un Poète’.
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CHECKERS
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PARTE I – EL CUERPO Y LA MENTE
“SUCEDE Y PUEDE PASAR DESAPERCIBIDO”
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- Playing with a New Vision
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- New Eyes
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- Into the Body
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- Fictions of Power
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PARTE II – ILUMINAR UN PENSAMIENTO
“VIVO UN PRESENTE QUE ME PERTENECE”
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- Desire Escape
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- Desire Escape 2222
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- Desire Escape 222
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- Desire Escape 22
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- Desire Escape 22
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- Desire Escape 22
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- Desire Escape 22
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PARTE III – PROFUNDIDAD DE VISIÓN
“LA MUJER DUERME. SE HA SALIDO CON LA SUYA. YA NO DEBE MENTIR”
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- Playing with Light and Shadow
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- Playing with Light and Shadow
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- Playing with Light and Shadow
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- Playing with Light and Shadow
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- Playing with Light and Shadow
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- Playing with Light and Shadow
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- Playing with Light and Shadow
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- Playing with Light and Shadow
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- Playing with Light and Shadow
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In the series ‘Checkers. What goes up?’ private and external events converge on the surface of the image itself through a play of illusions and transparencies to tell the story of the escape from the limiting reality in which we are imprisoned and confined every day.
Checkers is a metaphor for our lives and, by their very nature, the pawns in checkers, humans, are forced to move within certain limits according to pre-established rules, often imposed or self-imposed.
In the story, photography is not only the medium that creates a perceived reality but, through its material physicality, that is, the analogue black and white photogram, it becomes the tangible tool that helps us to cross the boundaries of the queen, creating an ideal gateway to a new world and a new consciousness of being.
Broadening our gaze and expanding our knowledge to investigate our role in the world and seek our true identity as human beings.
Grafía Obscura
2020 – Grafía Obscura
Analog photograph, silver gelatin print made with a pinhole camera through the fotofinish technique.
Grafia Obscura is a visual and temporal exploration of the self through the fotofinish technique, reimagined from Paolo Gioli’s experiments.
Each image becomes a trace of motion and dissolution, where light writes and erases the body in the same gesture.
The work reflects on perception and transformation — a poetic act in which the image is no longer representation, but pure process, an unstable handwriting of existence.
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- Plate I
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- Plate II
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- Plate III
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- Plate IV
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- Plate V
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- Plate VI
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- Plate VII
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- Plate VIII
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- Plate IX
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- Plate X
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- Plate XI
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- Plate XII
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- Plate XIII
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- Plate XIV
Self-Portraits _ Metamorphosis of the Negatives
2019. Self-Portraits _ Metamorphosis of the Negatives
Analog photomontage, silver salt gelatin. Taken with my camera minutera.
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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- Self-Portraits
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“In that stillness, I wanted to involve my whole body and let myself be carried away by some movement.
The encounter with the other, I recognise their fragmentation and make it my own.”
‘Self-Portraits, Metamorphosis of the Negatives’ is a project that was born during a post-accident recovery and brings together chemical explorations carried out inside my camera minutera using some negatives of people I have photographed over the years.
It all begins by choosing a negative from the box in which they are stored, reproducing the positive and then letting things happen. Between the passages from negative to positive, I intervene with double exposure, the infiltration of light inside the camera, the deposition of silver on photographic paper, the superimposition of objects, etc.
The works I propose are based on a balance between realism and its deconstruction to reveal the darker side of life by exploring emotions such as sadness, melancholy, loss, pain, and loneliness.
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URTX – Revista cultural de l’Urgell
DALLADORA
obra del Col*lectiu Hamburg exposada a La Gran Màquina V amb motiu del Festival Embarrat de Creació Contemporània 2018 a Tàrrega.
Emily Begrich, Marina Fraga, Barbara Ghidini, Sílvia Martinez Palou i Mercedes Ruano
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X Bienal d’Art Riudebitlles
X BIENAL D’ART RIUDEBITLLES – OBRA SOBRE PAPEL Y LA VIETNAMITA
26 DE OCTUBRE 2018 RIUDEBITLLES
DE 10 DE NOVIEMBRE 2018 A 24 DE MARZO 2019, MUSEO MOLI DE CAPELLADES
DESDE EL COL*LECTIU HAMBURG PARTICIPAMOS CON LA OBRA “TRÍPTIC DALLADORES” Y CON EL LIBRO DE ARTISTA “DALLADORA” QUE RESULTÓ FINALISTA.
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EMBARRAT. Festival de Creació Contemporània
25/27 MAIG 2018 MUSEO TREPAT, Tàrrega
El Col·lectiu Hamburg, format per 5 dones artistes (Mercedes Ruano, Emily Begrich, Sílvia Martínez Palou, Marina Fraga i Barbara Ghidini) de diferent edat, nacionalitat i formació amb motiu del festival EMBARRAT 2018 a Tàrrega presenta la obra “Dalladora“.
Desde las naves modernistas del Museo Trepat de Tàrrega, origen de la transformación social e industrial en las tierras de Lleida, participamos como Col*lectiu Hamburg de la quinta edición de EMBARRAT. Festival de Creación Contemporánea, un evento que tiene como principales objetivos divulgar el arte y el pensamiento entre la sociedad, como actitud crítica y comprometida; el fomento de la creación artística y la promoción del patrimonio cultural.
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