Cuando tuvimos la suerte de ver en exposición el trabajo de Mirko Martin en el MACRO de Roma nos dejó prendados. Exponía imágenes de su serie L.A Crash, un cojunto de 55 fotografías de diferentes tamaños y perfectamente situadas en la pared para generar un ambiente muy especial. Su disposición atrapa y engancha mostrando una ciudad que es un holograma cinematográfico, un cojunto de retratos de un lugar que parece un banco de imagenes filmicas. ‘It’s about getting into the fiction that is America, America as fiction. After all, it is as this fiction that it rules the world.’ Afirma Mirko cuando habla de su trabajo.

Hemos tenido la suerte desde More Than de poder entrevistarle haciendole unas breves preguntas sobre su trabajo y proceso creativo.

More Than: En tus propias palabras nos gustaría que nos explicases que buscabas mostrar en su serie L.A Crash.

Mirko Martin: I am trying to make photographs that create the wish in the viewer to penetrate the surface and find out more about what is happening in the picture, which, of course, is not possible. I’d like to make the viewer aware of the photographic surface itself, and I also sometimes want to address certain social issues in my images, but generally there’s not a specific statement that I am trying to make. The photos should be complex enough to justify showing them in an art context, which is a conceptual rather than an emotional approach, I guess.

MT: ¿Cual es tu proceso creativo?

MM: The process mainly involves a lot of walking around and looking for things to happen. That’s what I like about photography: you never know what you’ll get on a certain day, and you might not get anything at all. So you have to be patient.

MT: ¿Cual es la relación entre el cine y la fotografía en este trabajo?

MM: I think obviously my photos are aesthetically informed by movies. A lot of them were even taken on film sets and display staged situations. But even the photos that show real events often resemble cinema because they are quite dense and action-packed. I constantly look out for everyday situations that have a dramatic, theatrical element, which I am trying to enhance then. I like when there is confusion about whether someone’s behavior is authentic or role-play.

MT: ¿Está muy claro para ti la forma de exponer tu obras?

MM: The exhibition format was not clear to me at the beginning. I usually don’t really think about the presentation when I am making the work, the question comes up only later on. In the case of the “L.A. Crash” series, every picture I took required its own ratio and size, and I think of them rather as single photographs that are connected subject-wise. I sometimes show the photos in a way that emphasizes their single character more (usually when there is more space available), but often they are combined in this collage-type way like in Rome, which in my opinion underscores the cinematic aspect by displaying different events and camera angles in close spatial proximity. (In cinema, there are different events and angles in close temporal proximity.)

Para ilustrar el trabajo de Mirko queremos adjutar imágenes de L.A Crash y algunas fotografías de sus exposición en Photoforum PasquArt Biel en 2010.

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