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Transcript of Gran Via - 0, de Igor Calvo
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g ra n
v ía 0
igor calvo
IGOR CALVOGRAN VÍA 0
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Exposiciones individuales
Procesos de urbanización insostenibles siguiendo estrategias involutivasGaler ía PhotoArte Komite , B i lbao. 2013
Código Postal . Galer ía PhotoArte Komite , B i lbao. 2012
Colmenas. Galer ía PhotoArte Komite , B i lbao. 2011
Cómic City. Galer ía PhotoArte Komite , B i lbao. 2010
Escenas del Mundo Flotante. Galer ía PhotoArte Komite , B i lbao. 2010
Realidad Virtual. Palacio Yohn, B i lbao. 2009Casa de Cultura de Cruces . 2009
Colectivas
Después de tanta fel ic idad, nos quedóun inmenso vacíoGaler ía PhotoArte Komite , B i lbao. 2012
La imposibil idad del retrato único en els. XXI. Galer ía PhotoArte Komite , B i lbao. 2011
Topos. Espacio de los mundos, B i lbao. 2010Palacio Yohn, B i lbao. 2010
La fel iz vida del cangre jo. El Templo del Arte , Madr id . 2009
Cuadernos
“Dream On Cyclist” 2011, On Phake Books
Intervenciones Urbanas(Como Miembro De Colect ivo Komite)
Urbanizaciones Involutivas. 2012‑ 2013
Misery. 2012
Se Busca, Se Ofrece, Oportunidad Única2012
UGR. 2012
Diógenes. 2011
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IGOR CALVOGRAN VÍA 0
catálogo
PhotoArte Komite [email protected]
@PHOTOARTEKOMITEPHOTOARTEKOMITE.WORDPRESS.COM
ESPACIOPHAKE.BLOGSPOT.COM
C
C
“GRAN VÍA 0” IGOR CALVOFOTOGRAFÍA DE PORTADA:
“$40 BILLION A MONTH ”, IGOR CALVODISEÑO CATÁLOGO: S∙K
LOS COPYRIGHTS DEL CATÁLOGO PERTENECEN APHOTOARTE KOMITE
LOS COPYRIGHTS DE TODAS LAS FOTOGRAFÍAS YLOS TEXTOS REPRODUCIDOS EN EL CATÁLOGO
PERTENECEN A SUS DUEÑOS
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“Gran Vía, 0”, constituye el negativo del discurso
oficial que proclama que vivimos al amparo del
mejor sistema social posible (como combinación de
sistema económico y político). Las imágenes que
componen “Gran Vía, 0” disturban y azoran más allá
de lo que muestran, ya que implican una gran diso-
ciación entre lo que aceptamos como realidad o fic-
ción y lo que verdaderamente se encuentra de
ambas en nuestro mundo real.
En este aspecto, “Gran Vía, 0” sirve también como
metáfora de un mundo separado por una inmensa
brecha entre el discurso y la realidad, una sociedad
disociada que se debate entre aceptar la imagen
que del mundo se le ofrece desde los medios oficia-
les y la que todos nosotros podemos observar si re-
corremos nuestras ciudades solamente
aprendiendo a mirar con un poco más de atención.
“Gran Vía, 0” se compone de fotogra-
fías documentales que muestran a
personas reales que desarrollan su
vida en las calles, en aquel espacio pú-
blico que para el resto de los ciudadanos
no es más que una mera zona de trán-
sito.
Cada fotografía se completa con la pre-
sencia de mensajes textuales preexis-
tentes, obtenidos directamente de
fuentes como el FMI o el Parlamento Europeo,
que juegan un papel fundamental en la configu-
ración de la imagen final, una combinación que
cuestiona la realidad o ficción de ambos “documen-
tos”.
Es decir, tomados por separado, tanto las fotogra-
fías como los textos son “reales”, ya que carecen
de manipulación alguna. Sin embargo, ni los textos
explican o describen el contenido de las fotografías,
ni las fotografías nos sirven para entender o com-
pletar los textos.
Tal combinación pues, se traduce en una denuncia
de la reducción de la vida de las personas a un
conjunto de leyes económicas que dictan la via-
bilidad o rentabilidad de las mismas.
Es, además, una constatación de cómo en la so-
ciedad del espectáculo se sustituye el análisis
veraz de la realidad por las ficciones de los po-
deres políticos y económicos.
Primera incursión en la fotografía en blanco y negro
de Igor Calvo y un paso más en la línea de investi-
gación iniciada con
“Código Postal”
(2012) y continuada
con “Procesos de ur-
banización insosteni-
bles siguiendo
estrategias involuti-
vas” (2012), en la
que la fotografía es
utilizada como herra-
mienta para poner en cuestión los procesos de re-
alidad-ficción sobre los que se sustentan las
sociedades modernas.
IGOR CALVOGRAN VÍA 0
catálogo
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“Main Street, 0” constitutes the negative of the of-
ficial discourse which proclaims that we live in the
best possible social system (as combination of both
economic and political system). The images compri-
sing “Main Street, 0” embarrass and upset beyond
of what they show, as they imply a great disassocia-
tion between what we accept as reality or fiction and
what truly can be found of both notions in our real
world.
Thus, “Main Street, 0” stands also as metaphor of a
world separated by a huge breakthrough between
the discourse (what the mass media tell us) and the
reality, a society torn between accepting the image
of the world as offered by the official mass media
and the one we all can see when walking through
our city just by learning to look at it a little bit more
carefully.
“Main Street, 0” is made up of documen-
tary photographs showing real people
who develop their life in the streets, in
that public space used by the rest of citi-
zens as a mere transit zone.
Each photograph is “completed” with
pre-existing textual messages obtai-
ned from reports of the IMF or the Eu-
ropean Parliament that play a
fundamental role in the making up of the final
image, a combination that questions the reality or
fiction of both “documents”.
That is to say, when taken separately both, photo-
graphs and texts, are “real”, as they lack of any kind
of manipulation. However, neither the texts explain
or describe the content of the photographs, nor the
photographs are useful to understand or complete
the texts.
The resulting image can be thus translated as a
condemnation of the reduction of people’s lives
to a collection of economic laws that dictate
their viability or profitability.
It is, also, a verification of how in the society of the
spectacle the truthful analysis of the reality is
substituted by the political and economic fic-
tions of the elites.
A first foray by the author, Igor Calvo, into black &
white photography and another step in the line of in-
vestigation began
with “Postcode”
(2012) and continued
in “Unsustainable ur-
banization processes
following regressive
strategies” (2012),
line through which
photography is used
as a tool to put into
question the processes of reality and fiction on
which modern urban societies are sustained.
IGOR CALVOGRAN VÍA 0
catalogue
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g r a n
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i g o r c a l v o
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NURTURING SOCIAL SOLIDARITY Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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CONCEPTUAL FRAMEWORK
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteCITIZENʼS AGENDA
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SUPPORT DEMAND
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteFISCAL AND STRUCTURAL ADJUSTMENTS
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2,4 POR CIENTO EN 2013
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STRATÉGIE EUROPE 2020 Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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OVERALL BALANCE ‑ GROSS DEBT
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INDICATORS OF ACTIVITY AND UNEMPLOYMENT Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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REALISTIC FISCAL OBJETIVES
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteCONDICIONES MONETARIAS ACOMODATICIAS
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EXPIRING STIMULUS MEASURES
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Gran Vía 0 | IGOR CALVO | PhotoArte Komite$40 BILLION A MONTH
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g r a n
v i a 0
i g o r c a l v o
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BUDGETARY AND FINANCIAL MANAGEMENT Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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EXPENDITURE
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteRESERVE FOR PRIORITY PROJECTS
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NUMEROUS BENEFITS
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteGran Vía 0 | IGOR CALVO | PhotoArte KomiteHELD BACK BY UNCERTAINTY
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g r a n
v i a 0
i g o r c a l v o
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TAXATION OF THE FINANCIAL SECTOR Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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WEAK FINANCIAL INSTITUTIONS
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteINJECTIONS OF LIQUIDITY
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LESS LIQUID COLLATERAL
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteTENEDORES DE RESERVAS
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MENOS DE 0,5 DESVIACIONES ESTÁNDAR
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteRELACIÓN DEUDA ‑ PIB
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FISCAL VARIABLES
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteTHE HEALTH OF FINANCIAL SECTORS
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g r a n
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i g o r c a l v o
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteBENEFITS OF GLOBALIZATION. CHRISTINE LAGARDE SAYS
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TERMINOS DE INTERCAMBIO
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteFLUJOS DE INVERSIÓN DE CARTERA
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ECONOMÍAS DEFICITARIAS
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteEUROPEAN FIREWALLS
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MULTIPOLAR WORLD ECONOMY
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteADVANCED ECONOMIES
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SOVEREIGN FUNDING PRESSURE
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteDESIGUALDAD DEL INGRESO
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PREOCUPPY INVESTORS
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteTHE SHADOW SECTOR
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g r a n
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i g o r c a l v o
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THE BEHAVIOR OF INFLATION Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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SUPERAVITS PRIMARIOS
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteSCHOCKS, POLÍTICAS Y ESTRUCTURAS
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RESILIENCIA DE LAS ECONOMÍAS
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteSTABILIZING FISCAL VITAL SIGNS
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THE GUITAR STRING THEORY OF RECESSIONS
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TRANSFERENCIA NETA DE RECURSOS Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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ACCESS TO BANKING SERVICES
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DOES MONETARY POLICY MATTER?
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PCPI
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LONG‑TERM CAPITAL ACCUMULATION Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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CAUGHT IN THE WEB
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INTERCONNECTED Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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g r a n
v i a 0
i g o r c a l v o
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteFREEDOM AND BREAD Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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LOWER COMMODITY PRICES
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MERCADOS MUNDIALES DE ALIMENTOS Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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GLOBAL MOVEMENT OF WORKERS
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EFFECT OF IMMIGRATION ON WAGE INFLACTION Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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BUILDING SUSTAINABLE CITIES
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteAUCUNE RESPONSABILITÉ Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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REDISTRIBUTION DES REVENUS
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SERVICES ADAPTÉS AUX BESOINS Gran Vía 0 | IGOR CALVO | PhotoArte Komite
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ECONOMIC FINANCIAL AND MONETARY EXPERTISE
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Gran Vía 0 | IGOR CALVO | PhotoArte KomiteECONOMIC VIEW
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