LA VELOCIDAD DE LAS LÁGRIMAS

Tere Fernández

Ten a fotografía unha condición de pensamento do Intratable, como diría Barthes. Un medio que se define logo nese trance entre o suxeito e o infinito: o paradoxal tempo do intersticial, desa emanación testemuñal da presencia; de todo aquelo que ten sido.
Este efecto temporalizador que ten a fotografía é o territorio no que habitan as imaxes de “La velocidad de las lágrimas”. Este traballo de Tere Fernández (Ourense, 1975) posúe ese carácter monumental e ao mesmo tempo hermético que non é outra cousa que a propia xustificación do acto fotográfico: desfacer a orde facultativa do real para fixalo noutro referente igualmente obxectivo.  “La velocidad de las lágimas” induce a tomar todo aquelo que invoca no seu interior na estrutura dun contrarrecordo, dun pasado absoluto que se recrea coa nostalxia, “un novo recipiente, éste que agora se pode sentir”, como conclúe a propia autora.

The photography has a condition of thought of the Intratable, as Barthes would say. A medium that is thus defined in that trance between the subject and the infinite: the paradoxical time of the interstitial, of that testimonial emanation of the presence; of everything that has been.
This temporalizing effect that photography has is the territory in which the images of “La velocidad de las lágirmas” inhabit. This work by Tere Fernández (Ourense, 1975) has that monumental and at the same time hermetic character that is no other cause than the justification of the photographic act itself: undoing the optional order of the real to fix it in another equally objective referent. “La velocidad de las lágrimas” induces to take everything that it invokes inside in the structure of a counter-memory, of an absolute past that is recreated with nostalgia: “a new container, this one that can now be felt”, as concludes the author herself.

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