Does not stand for “Before Christ”, but before Cádiz. That is, before I moved from Madrid, Spain’s capital to this tinny town on the edge of the world where phoenicians, romans, arabs and later christians wrote with blood the beginning of occidental history (for a short version click here).
is a link to the book I design and edited for my exhibit at San José de Caracciolos in 2010. An incredible space runned by the Universidad de Alcalá de Henares in Madrid, Spain. Special thanks to Maria José Toro Nozal, responsible for the cultural area; with out her outstanding work this project would not have seen the light. I would also like to thank the texts that Alejandro Luque, Paco Cano, Manuel J. Ruiz Torres and Alicia Cifredo wrote for the book and Mercedes de Alba for her helping me designing the exhibition space. Special thanks to Roberto Iguña for composing amazing music to follow the concepts I based my studies on and Julián Ochoa who took the amazing responsability of printing manually my 35mm, 6×6 film negatives. He did an outstanding job, considering the fact that they were in quite a bad condition due to time and extreme storing!
un enlace al libro que diseñé y edité con motivo de la exposición en San José de Caracciolos. Un espacio increíble coordinado por la Universidad de Alcalá de Henares en Madrid, España. Coincidiendo con la entrega del Premio de Literatura en Lengua Castellana Miguel de Cervantes y las jornadas literarias que transcurren en la ciudad de Alcalá durante toda una semana, tuve el honor de inaugurar el mismo día que se entregaba el premio, si bien a la inauguración no acudieron realezas, toda mi familia estuvo presente. Agradecimientos especiales a todos aquellos que colaboraron de alguna manera en hacer posible este proyecto. En la sección en inglés están mencionados.
http://www.blurb.com/books/1296019-ignacio-fando-fotografias-1993-2010 and a video in youtube with the music that Roberto Iguña created for the exhibit. http://youtu.be/-Epv5B4V47A
The project was very demanding in terms of putting together seventeen years of photography work. It came out very good! The space I was offered had been a church and now it serves the cultural purposes of the University of Alcalá de Henares in Madrid.
Suddenly I had the opportunity to keep on exhibiting my work in deconsecrated churches.
The first time it happened was in Oratorio di Sant’Ambrogio, Prato- Italy, a village eight kilometers away from Florence in the year 2000. Besides the fact that exhibiting in places were religious or mystical demonstrations have taken place adds an incredible value to the “magic” of my work, this time this huge church would give me the opportunity to close a period in my life. One that finished when i definitely moved to Cádiz and became a father. My search would continue, this time with more people abroad!
The way I divided the huge space was directly influenced by the different series of the pictures I was showing. Five in total, named: Paradise Lost, Happy Corners, Judas, Revelations and Lust. Each section was introduced by a related text, thus the whole exhibit was introduced by Kavafis- Ithaca- regarding to the journey that each spectator was about to start:
“When you set sail for Ithaca,
wish for the road to be long,
full of adventures, full of knowledge.” [...]
The poem’s theme is that enjoyment of the journey of life, and the increasing maturity of the soul as that journey continues, are all the traveler can ask for. It resumes very well the essence of the whole exhibit as a journey to one’s personal soul and the experiences in life that makes us grow. The first stop would be “Paradise Lost” in direct reference to John Milton’s epic poem. The loss of innocence. Suddenly the human being realises his nature and wisdom makes him free, but also fearful of things he doesn’t understand. Second stop of the “trip” is Happy Corners. A game of lost and found places is suggested in these series of pictures, were nature seems to compete against industrial constructions in clear decadence or simply abandoned. Creating a dichotomy of wether is best to be in nature or surrounded by all this decadence. I used T.S. Eliot poem ‘The Waste Land’ as an introductory to this series of pictures. Nietzsche wrote about the death of God in his book “The Gay Science”
God is dead. God remains dead. And we have killed him. Yet his shadow still looms. How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives: who will wipe this blood off us? What water is there for us to clean ourselves? What festivals of atonement, what sacred games shall we have to invent? Is not the greatness of this deed too great for us? Must we ourselves not become gods simply to appear worthy of it?
—Nietzsche, The Gay Science, Section 125, tr. Walter Kaufmann
I related my portraits to the figure of Judas who help the romans finding Jesus and killing him. Meaning we all have a price.
The Uncertain Future
Ever since the exhibit took place I’ve been trying to take the exhibit to other possible locations with different fate. It would be fabulous if I could continue finding churches where projects like this had any chances to get exhibit. If you know any, please contact me. Thank you.