I do not want to disappear silently into the night

Katrien de Blauwer,I do not want to disappear silently into the night

Katrien de Blauwer
I do not want to disappear silently into the night

Photographs: Katrien de Blauwer

Publisher: Avarie

178 pages

Year: 2014

Comments: Softcover, 240 mm × 170 mm. Very clean copy signed by Katrien De Blauwer

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0Katrien de Blauwer

Through KDB’s <collages> and their <short circuit> effect in our ways of seeing, the book intends to explore and deepen the concept of <void> and its <visibility>, proposing a work that’s situated at the border of different artistic disciplines, from <photography> to <cinema> to <performance> and to <painting>.

<Photographer without a camera>, KDB collects and re- uses pictures and supports from old magazines and papers, engaging them in a vision that occurs directly in the <hand>, becoming thereby more physical and tactile.

KDB gives new meaning and life to what is <residual>, saving the images from destruction and including them in a new narration that combines <intimacy> and <anonymity>. Hers is therefore a work about <memory>, although never by a process of accumulation but by way of <substraction>.

The images are deprived of something that disappears from view but remains perceptible and refers to a kind of entirety. The collage itself is a signal that’s <present and resistant>, the <form of an emptiness> that is hence never <absence>.

KDB’s work calls to mind the techniques of <photomontage> or <film editing>, using the <cut> as <border> or <frame> that determines what is visible and <essential>. Keeping in mind the collages’ highly <cinematographic> content, the book takes therefore inspiration from <Michelangelo Antonioni>’s filmic sensitivity, along with a few suggestions from the arts, that share his <pure, geometric and linear vision>.

Like the Italian director, whose “interest - according to John Berger - is always <beside> the event shown”, Avarie has been trying to focus its attention on the <unseen> elements of the collages, such as the cut-out photographs and words from KDB’s notebooks or the reverse side of the support papers. In particular, the <off-screen> position of the texts in the book allows to frame the collages <in-between>: the void actually specifies itself as an <interstice>.

KDB’s <text-fragments> - <sharp, precise and evocative> as <scripts> - interact with Antonioni’s writing which inhabits the book’s interstitial spaces: the extracts here inserted derive from what he himself defined as <films I wrote>, series of <unfinished stories> he never found the chance to shoot. Texts therefore, that belong not less to the order of <visualizations of the absent> as they render perfectly perceivable an image that doesn’t exist. 



Katrien de Blauwer,I do not want to disappear silently into the night

Katrien de Blauwer,I do not want to disappear silently into the night

Katrien de Blauwer,I do not want to disappear silently into the night

Katrien de Blauwer,I do not want to disappear silently into the night

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Katrien de Blauwer,I do not want to disappear silently into the night