Automatically translated from Basque, translation may contain errors. More information here. Elhuyarren itzultzaile automatikoaren logoa

Zaleen eta profesionalen topaleku

  • Bilboko Argazkilaritza Garaikidearen Zentroak urtea beteko du aurki. Ricky Dávila eta Ernesto Valverde argazkilarien ekimenez sortua da, eta argazkigintza eskola, erakusketa aretoa eta disziplina honen zaleei eta profesionalei zuzendutako topalekua izan nahi du guneak. Ricky Dávila zuzendariarekin hitz egin dugu, eta bere ustez, une oparoa bizi du argazkilaritzak.

(Arg: Argazkilaritza Garaikidearen Zentroa)

Ikasturte honetan 60 ikaslek eman dute izena Bilboko Argazkilaritza Garaikidearen eskolan. Urte osoan arituko dira ikasleok, baina hiru hilebeteko moduluak eta asteburuko tailerrak ere eskaintzen ditu zentroak. Eduardo Momeñe, Jose Ramon Bas, Iñaki Domingo, Gonzalo M. Azurmendi, Mikel Alonso, Alberto Garcia-Alix edota Ricky Dávila bera, besteak beste, arituko dira irakasle.

Oinarrizko mailatik espezializatuenerainoko aukera eskaintzen dute, argazkilari, zaletu edo profesional ororen ezagutza grina asetzeko moduan. Argazkigintza eskolaz gain, bertako zein atzerriko argazkilarien lanez osatutako erakusketa antolatzen dute hilero. Hil honetan, kasurako, Jose Ramon Basek Paradisua deituriko erakusketa paratuko du zentroko aretoan.

Beste ekimenetako bat, Zentroko Ostiralak deituriko solasaldi-hitzaldi sorta dugu. Hilean bitan ostiralez, argazkilariak, komisarioak eta ikus eremuko sortzaileak erakartzen ditu zentroak. Informazioa partekatzeko abagunea da batik bat, arte disziplina honetako dinamizatzaileen, zaletuen eta profesionalen arteko trukerako aukera. Helburu bera hartuta, Contratiempo izeneko hiruhilabetekaria argitaratzen du, egungo argazkilaritzaren inguruko berri emateko.

Egungo disziplina garaikideetako bat

Ricky Dávilak, zentroko zuzendari eta argazkilariak, hainbat argazki liburu ditu argitaratuak, bakarka nahiz taldean, eta hogei bat argazki erakusketa jarri ditu han eta hemen. New Yorkeko ICP ikastegian ikasi zuen argazkilaritza eta Madrilen eman ditu hainbat urte. Ortega y Gasset eta Fotopress sariak jaso ditu, eta bere sorkuntza eremua autore argazkilaritzan kokatzen dute adituek, disziplina honi, bere ikuspuntua ez ezik, poetikotasuna ere erantsi baitizkio. Egun Ernesto Valverde argazkilariarekin batera darama Argazkilaritza Garaikidearen Zentroaren ardura eta zuzendaritza.

“Zentroa balio anitzekoa izatea nahi genuke, argazkilaritzaren eremuan zenbait jardun biltzen dituena. Alde batetik eskola dugu, bestetik erakusketa aretoa, eta azkenik, aldizkaria” azaldu digu Ricky Dávilak. “Plataforma irekia da zentroa, zaleen zein profesionalen esku dagoena, bertan elkartu eta topo egin dezaten. Argazkilaritzari kultura emateko asmoz eta ilusio handiz egina da zentroa”, dio argazkilariak.

Kutsu garaikidea ere badu zentroak, izenetik beretik hasita. Ildo horretan, une goxoa eta oparoa bizi du argazkilaritzak, Ricky Davilaren aburuz: “Argazkilaritzak eremu profesionala urratu du, eta esan daiteke ikusizko lengoaiak ia hitzak besteko indarra hartu duela gaur egun, emozioak, ideiak eta sentipenak eragiteko. Bestetik, oso transbertsala da, gizarte maila guztietara zabaltzen baita. Hortik datorkio zentroari izena, egungo denborari dagokion disziplina delako”.

Joerak ez ditu gustuko Ricky Dávilak, argazkilaritza arte disziplina izaki, joerei muzin egin eta sakontasunez jokatu beharra dagoela uste baitu. “Egungo argazkilaritza milaka ahots dituen poliedro izugarria da”, dio, “argazkilaritza lengoaia unibertsala bilakatu den honetan, hainbat erregistro eta ikuspuntu onartzen ditu, eta hori polita da”. Hainbat mugimendu biltzen ditu egun argazkilaritza garaikideak; errealismo hutsetik hasi eta informazio eremuan, publizitatean edo fikziozko irudi poetikoen bidez emozioak sortzeko orduan.

Beste esparru askotan bezala, teknologia berriek aldaketa ugari eragin diote arte disziplina horri, eta baztertu egin da lehengo artisau lana. “Laborategiko inurria izan naiz betidanik. Denbora gehiago pasatu dut argi gorritan beste edozein gauzatan baino”, azaldu du Davilak. “Orduko laborategi lana inpresora batek egiten dizu gaur egun, baliabide berriak  ematen dizkizu. Adibidez, paper mota asko dago, lan egiteko oso baliagarriak eta ezin hobeak”. Halere, material eta lan modu berriek ez dute azken emaitzan eragiten, Dávilaren ustez. Hala, “Edozein hizkuntzatan, eta argazkilaritza ere hizkuntza da, garrantzitsuena ez da ‘nola’ esaten den, ‘zer’ esaten den baizik”.


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