[Affection was washed clothes, food on the table and unity against the storms. Resisting as a family was the greatest proof of goodwill] (excerpt from the book ‘Salvar o fogo’ by Itamar Vieira Jr. Ed. Todavia. Sรฃo Paulo, Brasil. 2023) (magnificent book!!!) ———– (photo: rural worker, Descalvado SP 2018 from the book ‘Rurais’ Antonio Mozeto. Ed. Origin. Sรฃo Paulo, Brasil. 2021)
I invite friends and interested parties in general to the opening session of my ninth photography exhibition called RURAIS, which is installed in the lobby of the Rectory of UFSCar (Rod. Washington Luis s/n, Sรฃo Carlos-SP, Brazil) which will be held, at the same location, tomorrow, April 11, 2023, at 2:00 pm.
It will be a great pleasure to welcome you!
photo: rural worker on sugar cane plantations in the municipality of Descalvado (SP-Brazil)
“Photography is a kind of alembic in which, in its successive transformation chambers (the eye, the camera, the darkroom(*)), the substance is extracted from the flow of images that crosses us every second and gives them meaning and presence. It is an essence of the look, slowly distilled” (Didier Brousse at https://loeildelaphotographie.com/fr/camera-obscura-bernard-descamps-essentiel/)
Photo exhibition. Hall of the rectory building of the Federal University of Sรฃo Carlos, Sรฃo Carlos, SP-Brasil. March/2023.
I have an umbilical connection with rural workers. My parents were farmers, landowners in the interior of the state of Sรฃo Paulo.
In my childhood and adolescence I worked on the land in various activities. I am immensely proud of my past. This project is a tribute to my parents, Antonio Mozetto and Eliza Llobregat, sisters/brother and their families who have enjoyed the benefits of the land throughout their lives.
It is also dedicated to other countless and tireless rural workers in this immense country who dedicate themselves hard to the daily and heavy work in the production of the food that arrives at our tables.
โThe simple men and women of the countryside who live off the land and for the land on their small rural properties and many others who daily shed their sweat in labor on other people’s properties and businesses are those who know the true value of the land, love the land , love their places. They are the authentic, anonymous and invisible heroes and heroines and, truly, the strongest of this countryโ (Mozeto, Antonio. Rurais. Editora Origin. Sรฃo Paulo (SP). 125 pp. 2021).
My photograph in this project is a telluric manifestation about these people and their activities, which, however painful and sometimes cruel, are deliciously happy and poetic. It is this charm that insists on overcoming the social ills that I seek to portray.
My hope is that this project will contribute to highlighting how precious Brazil’s rural workers are.
Word-photography pairing Inspired by an article written by Geoff Dyer called ‘form: word + photography’ and published by Zum magazine in May 2014, I found resonance for an aspect of great relevance for me in photography that is ‘marriage of the word with the photograph’ or ‘photography’ with the word’. For me, there is often an exchange of roles, i.e., who was born first, like the story: โthe egg or the chicken?โ: โThe word or the photo?โ.
Dyer cites some books that historically fall into this category and after reading his article I was tempted to buy one and ended up buying the ‘Looking at photographs’ where John Szarkowski ‘houses’ 100 photographs from the collection of the Museum of Modern Art in New York ( the most iconic in his perspective in 1973, of course) with ‘words’ about such photos. Despite having the book in my hands for less than 24 hours, I was able to perceive real jewels – both โjewels-wordsโ and โjewels-photographsโ – that are in it.
One of these gems is a photo by William Klein made in Moscow in 1959 that Szarkowski’s book does not give the name (what a mistake Szarkowski!), But I know it’s a bikini because it’s the cover of a Photofile (Thames & Hudson, 2017) from Klein that I have in my small library. โBikiniโ escapes – in my modest knowledge and understanding of Klein’s work – from the โruleโ of (almost all) photographs by this author who excels in โmeterโ within the rectangle, a great diversity of elements of composition. โBikiniโ has 6 layers or beautifully defined plans โฆ. and, many mysteries โฆ tensions โฆ and, poetry.
Well, among the many things that Szarkowski talks about in this photograph, I read something I want to share:
โIt was recognized long ago that so-called good photographic technique did not invariably make the best picture. Sometimes the gritty, graphic simplicity of the badly made photograph had about it an expressive authority that seemed to fit the subject better than the smooth, plastic description of the classical fine print โ.
You did well Szarkowski!!! โฆ
——————————————————-
Inspirado num artigo escrito por Geoff Dyer chamado โforma: palavra + fotografiaโ e publicado pela revista Zum em maio de 2014 encontrei ressonรขncia para um aspecto de grande relevรขncia para mim na fotografia que รฉ โcasamento da palavra com a fotografiaโ ou da โfotografia com a palavraโ. Para mim muitas vezes hรก, aรญ, um intercรขmbio de papรฉis, i.e., de quem nasceu primeiro, como a histรณria: โo ovo ou a galinha?โ: โa palavra ou a fotografia?โ. Dyer cita alguns livros que historicamente encaixam-se nesta categoria e apรณs ler seu artigo fiquei tentado em comprar um deles e acabei comprando o โLooking at photographsโ onde John Szarkowski โcasaโ 100 fotografias do acervo do Museu de Arte Moderna de Nova York (as mais icรดnicas em sua perspectiva no ano de 1973, รฉ lรณgico) com โpalavrasโ sobre tais fotos. Apesar de ter nas mรฃos o livro menos de 24 horas, jรก pude perceber verdadeiras joias โ tanto โjoias-palavrasโ como โjoias-fotografiasโ – que hรก no mesmo. Uma dessas preciosidades รฉ uma foto de William Klein feita em Moscow em 1959 que o livro do Szarkowski nรฃo dรก o nome (que mancada Szarkowski!), mas eu sei que รฉ โbikiniโ porque รฉ capa de um Photofile (Thames & Hudson, 2017) do Klein que tenho em minha pequena biblioteca. โBikiniโ foge โ no meu modesto conhecimento e entendimento da obra de Klein โ da โregraโ das (quase totalidade) fotografias desse autor que prima por โmeterโ dentro do retรขngulo grande diversidade de elementos de composiรงรฃo. โBikiniโ tem 6 camadas ou planos lindamente definidosโฆ.e, muitos mistรฉriosโฆtensรตesโฆe, poesia. Pois รฉ: entre as vรกrias coisas que o Szarkowski fala dessa fotografia leio algo que quero compartilhar:
โIt was recognized long ago that so-called good photographic technique did not invariably make the best picture. Sometimes the gritty, graphic simplicity of the badly made photograph had about it an expressive authority that seemed to fit the subject better than the smooth, plastic description of the classical fine printโ.
Knowing the secrets, the mysteries of the river in order to move forward in life; to be able to navigate; to be able to love. To cross a river is to know the river; it is the revelation of life. Knowing the secrets and beauty of the fluidity, strength, freshness and transparency of its watersโฆ The crossing of a river is the unveiling of the secrets and mysteries of the solidity of its shaped pebbles, sculpted by water and time, lying and almost geometrically accommodated, there almost transparent in the depths of the river. It’s revealing the secrets and mysteries of lifeโฆ it’s the courage to antagonize fears; create paths to navigate. It is not content with knowing the river only from one of its banks. It is rejoicing in the pleasures of crossing and on the other side of the river; from the other side of the river. It is opening doors in the pursuit of ideals and dreams. The unveiling of new paths on the other side of the river to be able to walk; to follow; to love. The river is also path and time, at the same time; path of past, present and future times โฆlong path; sometimes serpentine; sometimes calm, sometimes turbulent, towards the seaโฆ
‘the river is like timeโฆ there was never a beginning’โฆ ‘the river is a snake that has its mouth in the rain and its tail in the sea’ (mia couto. a river called time, a house called land. cia das letras. 2022)
I’m starting to revisit my collection of photographs of rural workers handling different types of crops across the country. And I do so, inspired and deeply moved after watching a few times the documentary that competed for the prize at the 2000 Cannes Festival (and of great international recognition in the following years) by the great filmmaker Agnรจs Varda called ‘Les glaneurs et la glaneuse’ (* )(The collectors and I). Varda considers herself, in this documentary, a ‘glaneuse’, not of harvest remains, but a ‘glaneuse’ of information, images, and stories. (*)(https://mubi.com/pt/films/the-gleaners-i).
Varda very appropriately quotes, comments and shows two large paintings on the theme of Jean-Franรงois Millet (1814-1875) โLes glaneusโ (The scavengers) (1857) and โLe rappel des glaneusโ (The remembrance of the scavengers) (1859) by Jules Breton (1827-1906). The criticism of these great works of art comments, among other aspects, on things that are very typical and known to rural workers who, in these activities, show themselves with their ‘broken backs, eyes fixed on the ground’ in ‘repetitive and exhausting movements imposed by this hard work: get down, pick up, get up’.
Jean-Franรงois Millet (1814-1875) โLes glaneusโ (1857). โLe rappel des glaneusโ (1859) by Jules Breton (1827-1906).
‘The harvesters’ (of normal harvests), in a lot, resemble the ‘pickers’ who were poor workers, but worthy like any other rural workers who were authorized by the owners or tenants of different plantations to ‘pick up’ the leftovers after the realization of the main crops to guarantee their sustenance.
The context of my photos of rural workers harvesting in the interior of Brazil is quite different from the collectors of the classic paintings shown in the documentary by Agnรจs Varda, but even so I decided to make comparisons since I find similarities between these images because these rural workers repeat, daily, during the harvest period, the same scenes of having their ‘backs broken, eyes fixed on the ground’ in ‘repetitive and exhausting movements imposed by this hard work: lowering , pick up, lift’ being ‘supervised’, or controlled, also, as in Millet’s work, by one or more ‘inspectors’ of the bosses.
I can say that I am also part of this story because in my childhood โ along with my brothers/sisters and cousins โโโ I was a collector. My paternal grandfather and my father allowed (and encouraged) us to ‘pick up’ coffee after the normal period of the annual harvest in their small plantations. The product of this activity was sold, which yielded some money that was shared between us. It is even said that one of the cousins โโ’hidden’, surreptitiously, under the ‘skirt’ of some coffee trees, during normal harvests (in which we also actively participated), some good amounts of coffee which, later at the time of ‘ scavenger hunt’ was gallantly collected by all of us. Everything leads to the belief that both the grandfather and the father pretended that they did not know about this illicit maneuver.
In the book โTo understand a photographโ by John Berger (organized and introduced by Geoff Dyer and translated by Paulo Geiger) (in Brasil: Cia das Letras. Sรฃo Paulo. 2017) (an authentic treatise on photography) I read and reread for some times (good things have to be tasted homeopathically) the ‘reading’ of the photo on the left from 1944 (taken three years before this scribe was born) by Paul Strand in Vermont, New England-USA, and what you can read there with all the lyrics impress me, move me a lot.
Says Berger of Strand’s work: โHis best photographs are unusually dense โ not in the sense of being overloaded or obscured, but in the sense of being filled with an unusual amount of substance per square centimeter. And all this substance becomes the essence of the object’s life. Take the famous portrait of Mr. Bennett. His jacket, his shirt, the beard on his chin, the wood of the house behind him, the air around him become, in this image, the very face of his life, of which his facial expression is the concentrated spirit.
left: Mr. Bennett (Vermont, New England) (1944) (by Paul Strand) — right: Onion picker (Casa Branca, SP, Brasil) (2019) (by Antonio Mozeto)
The photo on the right that I took in 2019 of an onion picker in Casa Branca (SP) has a much more explicit surface given that the worker is in his own work environment. And, without due permission, but with due daring, ‘reading’ my photo, I make my own Berger’s words about Paul Strand’s photo in vogue: all the substance of the photo is in the expressive look of the worker, in a marked face by the hardships of hard work and in the properties of his surroundings: the harsh and striking light of the day in the middle of the day, the onion harvesting bucket, the bags of onions lined up behind him, two fellow workers and the bus that brings him very early for the harvest and takes him back home at the end of another day of this person’s hard day’s work.
As well said by Berger (opera citato) โin the relationship between photography and words, the former craves an interpretation, and words usually supply it. Photography, irrefutable as evidence but weak in meaning, gains meaning from words.
โฆback on the roadโฆthe longing was immenseโฆthis time through the interior of northeastern Argentina in a region that I knew little aboutโฆ
New topographics – Corbรฉlia, PR-Brasil.Portrait of a typical Gaucho – Ituzaingรณ, Corrientes- Argentina.Top: result of intense forest fires ocurred in 2021 in Corrientes Province, Northeast Argentina. Bottom: Hydroelectric Itaipu, PR-Brasil.Abandoned gas station, Posadas, Misiones, Argentina.