Hi Clive,

Thank you for your report, which contains many interesting insights related to the assignment.
Regarding the introduction, since the book is part of a supposed trilogy, I didn’t want to extend too much in the introduction, considering that whoever approaches to the “Cadernos da Limia III” maybe had read the two previous volumes. I have the feeling, however, that the work as it is conceived is not based on universal pillars, and perhaps I have raised it for a very specific audience: the rural population of this region of Spain. Perhaps, this connects with the paragraph you point out to me about the capacity of photography to change the world. I believe that the value of this project – or at least its potential – may lie in the ability to promote some kind of social dynamic in these communities, and to avoid confining photography within the four walls of the white cube. Would be a good idea to include the entire introduction of the blog as a preface in the book? The eventual reader of the book who had read the previous one will find this repetitive. And considering the possibility of showing the work in an exhibition, it should be done including the other two parts, showing the public the work as a whole.
I agree that in the introduction I didn’t explain very precisely what the pictures are about. I will rework this part, adding an extra information that explains the origin of the picture and brief historical context.
Regarding the use of the colors to manipulate the “warholish” picture: The logic of the colors blue, red and yellow present throughout the book – and particularly in the image in question – corresponds to the three colors of the Venezuelan flag, the place where I was born. In addition to a certain banalization of the scene -as you say in your commentary on this image-, it seemed to me that the connection with Warhol’s photography could activate an idea of rejection of the level of “bourgeoisity” present in the messages that these emigrants sent from abroad, on the other hand, so different from the current reality. I feel some disruption in the narrative of the emigration as a time of struggling and hardtimes, and the pictures sent by those migrants that seem to tell the oposite.
Regarding the red tint in the picture Caracas (Venezuela): besides the relation with the Venezuelan flag, here the intention tries to evoque a Cola drink advert (not sure whether the bottle on the table is Pepsi o Coca Cola). This is a very strange picture: it looks like a staged picture (the bunch of roses, the odd lighting, the pose of the subject, the situation, the message on the back of the picture), although the casual disposition of some props on the table suggest the opposite. In any case, a strange picture to be sent by a migrant in the 50s.
Mar de la Plata (Argentina): The two interventions are obviously related with the text where points out how bad everything is in the picture. Not sure whether to include it, because it could be read like a prove of disrespectful. In the first intervention, every face is remove (because, the woman wrote that they look bad) and the own shadow of the man replace his own figure (because she wrote that “he looks well, even if he turns his back to the picture”. This is some kind of funny disruption.
Regarding the 90 degrees disruption: it has sense on the physical book, to force a physical reaction in the viewer (like a percussion burst in an orchestral piece, it will awaken the sleepy listener). 🙂
Camaguey (Cuba) (kiss marks): The intervention consists on all the possible permutations of the four heads, that is 4! = 4*3*2*1 = 24 permutations 🙂
What an amazing work of Daniela White. Using the materiality of the archive itself to build “3D” collages definitely projects new elements of meaning onto the archive, shaking off the dust of nostalgia. Combining with other elements such as newspapers or tourist postcards connects the archive with other areas of the past. It’s a pity I didn’t know this project before.
Learning Log:
Not sure what you mean about the Blog section. In reflections I include some extra information (not much to be precise) about exhibitions, books and colaborations. Since a couple of months I collaborate with the Spanish magazine Clavoardiendo, where I post some articles I wrote. Last month I published there an article about the work of Joachim Schmid that includes exclusive pictures kept in the Marco Museum of Vigo.
Kind regards