Photo by: Andres Cesar (BACKLINK)
Photo by: Haris Panagiotakopoulos (BACKLINK)
Never been there but I have this hunch … when in Cuba or India the photographs are waiting to be picked up. No pain and much gain. Many, multiple subjects, surrealist scenes, superb light.
No offence, but in those (and other) exotic places the photographer's role is marginalised. The ultimate action of the photographer is to cut the "meaningful" slice out of time but mostly out of space. To choose what gets in the tiny "4 angles" frame and what is left out. And usually, the less of context in the picture, the more the story is taking unimaginable routes.
The two images presented here are doing exactly this. They leave us with no contextual information and they undermine any fortuitous reading. Nothing is what it looks like. And all can be a familiar snapshot and nothing more. You would say: "Are you kidding us?" A kid's play on the sand, and a manifestant escaping (or in some countries pursuing) the police are ordinary images.
No they are not. Would you let your kid play there? The sea is menacing, the beach deserted and the sand castle haunting.
Or would you run through toxic fumes, whatever the reason? And in fact which is the reason?
So nothing ordinary here! They are both post-apocalyptic images. Raw, straight images cut out from a reality that we carefully put away as disturbing. Thanks to the authors for the reminder!