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Reality is a non - fiction yet an experimental, peripherally "realistic" essay dealing with those dead, in-between, hardly epic moments which fulfill our everyday life -most of them dealing with nonsense, absurdity and casual irony. Opposite to Modernity's "great tales and moments" and the evolutionist concept of Progress, Postmodernism eventually redefined what is usually understood as "reality" in Western societies. Deconstruction of that rigid mental structure we were all imposed of by Education implies a dramatic change: now it's less how we see than what we see (Clifford Geertz). In other words: how does Culture shape perception? Why do / should we see "this," and not "that"? What is what matters, in the end? Henri Cartier-Bresson redefined the Photographic language with the eyes and mind of an artist. Yet, even his "decisive" moment was eventually put in crisis. No more decisive moments, many of us eventually ventured. Every moment is valid: why should a given moment be more valorous than any other? Reality might be seen as an almost unconscious attempt to broaden the esthetic and conceptual potential of straight, unstaged, "naked" Photography, gradually being left aside by young (and not so young) generations of art photographers, who seem to make a preference for every kind of manipulation and scene staging, which results particularly disgusting to me. Indeed, the effort to keep exploring the original straight, non-fictional Photography's language might be taken as the main goal of this essay: that is, to search for the metaphor departing from "what is out there" -assuming there still is something out there even when we dont look: the unquestioned, historic concept implicit in Documentary Photography. An argument that Einstein, Heisenberg, Planck and other genius of Physics put in crisis during XX Century as a casual philosophic derivation of their abstract experiments. In my perception, to keep exploring the domain and limits of straight Photography is, onc
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Photographer Andrés Salinero was born the 26th. January 1963 in the city of La Plata, province of Buenos Aires, Argentina. He began photographing at 8 thanks to his father Heraldo, an engineer and amateur photographer himself. Being 15 he traveled to Mexico, where he was deeply moved by this Country’s pre-Hispanic, native cultural heritage. Influenced by that trip and other untransferable experiences, he noticed he had deeply felt in love with Documentary Photography. Salinero studied Journalism and Mass Communications, Anthropology, Philosophy and the History of Arts at the Universidad Nacional de La Plata, where he also worked as a photographer during ten years. After graduating, attending a course in Visual Anthropology and a brief interlude in New York, he returned to Argentina and began to freelance for Clarín Editorial Group in Buenos Aires, and for international magazines like National Geographic and Altaïr. In 2001 he won a World Press Prize in Photography, and associated with agencies and book editors from Buenos Aires as a photographer, writer and co-editor. After a personal crisis in 2010, he decided to quit working for other people projects and fully devoted to his own, Terra Incognita, which he had created during his teenage years. Nevertheless, the project was rejected by the publishing houses and official cultural institutions in Buenos Aires where he presented it, so he decided to keep producing content by himself at his own risk, investing his tight savings and biding his time. So far, that’s how all the contents for Terra Incognita have been created. Salinero is also the author of three experimental essays: «Reality», «Gulp!» and «Cielito Lindo». Besides Photography, Salinero likes jazz music, literature, paintwork, tennis (particularly Roger Federer, Pete Sampras and Gastón Gaudio) and Rally races (particularly FIA WRC, Sébastien Loeb and Ari Vatanen). Actually, he takes himself as a frustrated Rally pilot. Salinero lives in the same city where he and his family were born: La Plata.
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