These are somewhat scattered photos I took in different places, most of them in South America: Viamão, Porto Alegre, Antônio Prado (Rio Grande do Sul/Brazil), Montevideo (Uruguay), but also in Poland. Most of them are of Mannerist or Baroque works in Catholic churches. On the whole I intend them to testify to what authors such as Severo Sarduy called an "aesthetics of waste." Haroldo de Campos uses the metaphor of images overflowing themselves and loosing their boundaries, an understanding that in Portuguese can be conveyed more economically in a single expression: "desbordamento da imagem." Also Lezama Lima refers to similar issues when he speaks about images being interpositions, emerging in the space between things, insidiously crowding this space, secretly eroding it, "como una especie de ente del no ser."
Sarduy was much influenced by authors like Bataille, and this project can be related to all my other indoor walking projects, because of the Derridean reading of the classical idea of "parergon" which is subjacent to all. For Derrida (La vérité en Peinture), parergon means this boundary or framework, sometimes invisible, but always present, and which can be displaced. One can say it is constitutive of the aesthetic dimension itself, although it is also irrelevant in itself to it (as a pretty frame). The parergon is a kind of free play of projections, related undoubtedly to Kant but not less to Nietzsche's notion of a plastische Kraft. Just formally, it is at work when you photograph a painting or a sculpture, whose artistic status you can then challenge by reconfiguring its frame, its colour, the light. By obliterating or underlining its texture.
"... le Christ véritable était une espèce de Bouddha..." (Gilles Deleuze, Nietzche et la philosophie).