1 / 5       From the serie The Waiting Game. © Txema Salvans.

2 / 5       From the series The Waiting Game. © Txema Salvans.

3 / 5       During the visit to the exhibition The Waiting Game. © Stefania Biamonti/FPmag.

4 / 5       During the visit to the exhibition The Waiting Game. © Stefania Biamonti/FPmag.

5 / 5       From the exhibition The Waiting Game by Txema Salvans: photography reworked by Bruna Salvans, daughter of the author. © FPmag.

The Waiting Game

At first glance, the photographs of Txema Salvans seem to be able to frame in that broad genre of contemporary landscape that devotes its attention to the powerful squalor of the industrial suburbs. If you apply a minimum of attention, however, it turns out that the icy scenery of roads, roundabouts, pavements are not deserted as it could have appeared at first sight. To populate them women of an unmistakable manner, waiting. This is the unexpected twist the work does not centre on urban depression, but on prostitution. The protagonists photographed at a great distance, and at first glance invisible, seem to explain their role in society. Transparent to the world, if not in terms of their commercial reification they are still presences on our social landscape where priggish consciousness seems to constantly want to conceal the figure and not just metaphorically.
The work conducted for eight years along the Spanish coast of the Mediterranean has been done by Salvans with defined criteria similar to those of scientific research, as the introductory apparatus at the entrance of the exhibition underline. First of all places and people to photograph were identified, the author approaches posing as a labourer, which allows him to insist on places without altering the dynamics. The high level of contextualisation marks the distance with the working protagonists, whose role is further stigmatised by the title (The Waiting Game) and the spaces in which they operate as if they were scars of a landscape, as writes Pepe Baeza.
Finally, interesting at a sociological level along the path the exposition of a picture reworked by the author's daughter. The caption reads: «When the first proofs of the book arrived at Salvans home, his 4 year old daughter, began to rework them». This is how the new image originated, when the child began to draw flowers and walls around the women with crayons, giving them a home in the midst of this desolate landscape. «My daughter simply saw a woman who was alone. She wanted to give her a house. If only adults could see things in that way sometimes». [ S. I. ]

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di Txema Salvans
Palazzo Ferretti | until September 27th, 2015
admission fee: 5,00 €

published on 2015-07-19 in NEWS / EXHIBITIONS



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editor in chief Sandro Iovine | sandro.iovine@fpmagazine.eu - senior writer Stefania Biamonti - web developer Salvatore Picciuto | info@myphotoportal.com - linguistic coordination Nicky Alexander - translations Nicky Alexander, Rachele Frosini - contributor Davide Bologna, Mimmo Cacciuni Angelone, Laura Marcolini, Stefano Panzeri, Pio Tarantini, Salvo Veneziano - local Lazio correspondent Dario Coletti local Sardinian correspondent Salvatore Ligios - local Sicilian correspondent Salvo Veneziano - editorial office via Spartaco, 36 20135 Milano MI | redazione@fpmagazine.eu - phone +39 02 49537170 - copyright © 2015 FPmag - FPmag is a pubblication of Machia Press Publishing srl a socio unico, via Cristoforo Gluck, 3 20135 Milano MI - VAT no. 07535000967 C.F. (TAX code) 07535000967 - Copyright © 2015 FPmag - Registered at Tribunale di Milano No. 281 on the 9th September 2014

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