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Carpa 1812 download.

We meet again at the Barbara-Ann bar, late at night, on a Friday, a Saturday, or any other day, in reality, the temporal or spatial situation does not matter. Time seems stopped. Nothing happens, nothing extraordinary happens. The imperceptible loneliness of our idle life, in private but common situations, appears again in this series of images. A contradictory imaginary presence is observed in this work. Small moments of the daily life of perfect strangers. We enter the visual game so expensive to José Carlos. An anodyne situation or the classic group portrait becomes a hard and mute tug-of-war. Without resorting to false artifices, we discover what is true and real in these photographs. We discover what the protagonists really think and feel - where so many lost glances are directed - slight gestures, private jokes turned into pathetic defenses against the simplicity and emptiness of real life. We discover, in short, with astonishment, the last layers of our own thought. The disturbing banality of the situations photographed by Soto and the absence of any temporal reference give way to surprising and endless moments, far removed from any visual narrative or discursive limits. What is photographed is isolated from any context to create an oppressive and opaque space, which directs the viewer, with no possibility of escape, towards the border that separates appearance from reality.



In this document, Carpa 1812, the author begins an analysis of his personal relationships and his most intimate circle, an unexpected fraternal request was the seed of this new photographic project, let us not forget, the result of the most absolute chance. We find countless snapshots taken indoors and outdoors, the least. Photographs taken day after day, month after month, every moment was good during the eleven years that I archive on countless CDs, first and later, DVDs. We are not dealing with the typical visual diary of an artist or with the cold and objective document on the human condition and its relationship with the urban space and its entertainment venues. Chance guides at all times the photographic work of the past and the selection that I make during the transfer to Okalia, an external hard drive, and its upload to two well-known social networks at the end of this year for the enjoyment of his friends and, mostly, protagonists of those selected snapshots. - José Carlos, again with the machine?. Simply, we find people having fun indoors. José Carlos, in this visual memoir, pays special attention to the Barbara-Ann, a Barcelona venue frequented by the photographer for years, practically since its inauguration, until 2011. The apparent coincidence of the moments chosen initiates a process of bitter reflective content, What is true and true in these snapshots? The protagonists of the selected photographs: friends, spaces or strangers, played a role in Soto's private life and in the evolution of his work. From the beginning, the photographer expels the nostalgia of his selection, as he has always done, his thoughts are directed to tomorrow, but he cannot forget or deny everything he experienced during those years photographed ad nauseam. The intimate and private as a universal experience.





When designing and preparing this edition of Carpa, Soto did not want to reveal the reason for his numerical choice, I have enjoyed total freedom. At no time, the author has wanted to intervene in its design, logically, he only imposed the condition of maintaining texts and order of the uploaded photographs. I have only intervened to eliminate those entries referring to his work in this issue and that did not contribute anything to the final result of it and were redundant.
I did not want to ask the author to remake the brief texts that accompanied the images. I consider it much more effective and enlightening, for the reader, to maintain the almost oral texts with which the photographer presented his snapshots. Thus, the artist presents himself to his readers as if he had gone back in time and sat at a table in any bar, commenting on his work with one of his friends.
To present the comments made on some photographs, I have preferred to do it together with a photograph taken by Soto during that time to avoid unnecessary aesthetic confusion and start a fun and, perhaps, private game with the established dialogues. In case any comment included an image, I have preferred to use this one. The authorship of some external photographs is indicated by the author himself in the attached texts.
I have little more to add to what my writing companions have written, I only recommend starting this trip to a past time that was neither better nor worse, to direct, like the author, our gaze towards the future.


















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Edited by ertyu


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