Luís Aniceto


Margem Sul is a project about my hometown territory on the south side of the Tagus river. Unlike Lisbon, where its political and economic prominence is also built upon its symbolic space, the territories on the south side lack this sovereign, historical and self-referential value in their urbanity. Suburbs were the most used adjective that pointed to a sub-value of its patrimonial reference.

It was in this set of urban places, a-historical and outside the spaces of power and desire, in which the processes of mutation and decomposition generated in the landscape a strange hybridism, that I decided to focus my work. Spaces in which anonymous buildings reign by the vulgar omnipresence of its facades, where cars, victims of accident and abandonment pose mute as useless statuary, but also places that have not yet been and are no longer, that seem suspended, unfinished and therefore renewedly liberating.

— Luís Aniceto, Almada, Portugal

José Luis De La Parra

© José Luis De La Parra

In times when nothing seems to have been created to last and it is the ephemeral reason of things that prevails, our transfiguration toward a disposable world is recognized as a congenital illness.

We live mesmerized by an entertainment society that in a systematic, insensitive manner creates, exhausts, and discards. Under the inflexible, dominant pressure of a culture of immediacy, it subjects its own product to terminal corrosion.

Beyond the rigidity of the conceptual apparatus and ideological assumptions, the civilization of entertainment is cruel. It has no memory. It lives stuck to novelty, no matter which, as long as it moves on.

This vertiginous production rate leads nowhere but to an accelerated obsolescence of its mechanisms. Thus, film settings — apparently enormous and grandiose — suffer the depraved parody of their own fleetingness. Settings condemned by their own staging.

A mere instrument for fantasy, when a setting becomes repetitive in the collective imagination, the same industry that created it sentences it to destruction. If not physically, by discrediting it with neglect.
It is these containing spaces with no content that frame this series. Photographs that capture these spaces now condemned to become even more contrived theme parks, by-products of a tourism industry that long ago became disfigured into another entertainment society’s tentacle.

Thus, hordes of visitors searching to devirtualize something that was previously constructed in their pictorial imaginary will dictate the epilogue for spaces recorded herein.

— José Luis De La Parra, Madrid, Spain

© José Luis De La Parra

© José Luis De La Parra3