I would like to make an extensive, necessary introduction to give you an idea of the courage and groundbreaking modernity that the works of Cristóbal Carretero Cassinello signify.
Street photography, as developed in the last five years, was born from a theoretical transformation of the eighties, the conquest of museums, and on to the arrival of new technology in the 90s, when photography ended up consolidating itself as an important member in the field of contemporary art. Here the concept of “useless photography” emerges, which establishes photography as an autonomous artistic medium, in contrast with the descriptive photography of previous generations, characterized by social reporting.
More recently, there have been the first criticisms of pure photographic realism,
strict street documentary and aesthetic lines of thought that are symptomatic of a postmodern thought pool, up to the current context in which technology has given rise to the debate on “post-photography ”.
At this point, a new way of working is consolidated: conceptual series based on visual material, not necessarily documentary photographs. Paraphrasing Joan Fontcuberta, “the absence of strict documentary truth does not suppose any trauma or anguish, but rather appears as something fascinating and natural at the service of the underlying intellectual project.” Post-photography where we can establish that it is the content and not the form that gives unity to a very critical observation of the use of technology taken exclusively at the service of the evident truth and not of the underlying truth.
Cassinello goes beyond strictly documentary works; More than purely formal and descriptive features, the photographer enters into that obsessive desire to make us doubt what an image is and what it can be, and at the same time expanding the limits of the photographic expressive vocabulary towards his personal surrealist vision of shapes, color, light, midtones and shadows – the raw material of what reaches our pupil and our intellectual interpretation.
In short, the renewal of street photography that only a few authors are producing is the progress of the photographic medium since its questioning. The image as a pretext and intellectual support is at the sole service of the intellectual content or leitmotif of each project. Dynamite conventional reality with the new photographic reality, through diptychs, optical illusions, contrasts of form and sophisticated trompe l’oeil that, at the same time, in their progression give coherence and narrative to the project.
Having made this introduction to Cristóbal’s new Teleport project: where is the message, the concept, the thread that leads us?
The images, or perhaps we should say, the visual material leads us to a revelation of hidden doors of time invisible to the human eye but not to the camera lens and to the definition of the frame that allows us to travel through time, as we’ve so often longed for. It is an evocation of the unknown, of the not evident, of the invisible even though we have it before our eyes. That real or unreal imagination of traveling in space-time is a way of converting into a conceptual reality what, without the filter of the camera and the framework of the concept, would be simple observations of daily life.
In Cassinello’s words “Teleport will make us dream at the speed of light, it will make us accomplices of the great Argonaut journey of matter through space-time, described in Albert Einstein’s equations of general relativity. Wormholes that lie in apparent invisibility. They will reveal to us a new temporal reality, a pulse to reason and man’s chimerical search for coincident parallel universes in the past, present and future.”
It is here where Cristóbal is brave, iconoclastic, and flees from the aesthetic, compositional and clichés of street photography to navigate his own personal and creative universe. His works are the most original on the photographic scene today and will set a trend inside and outside our borders, because I am afraid that strictly documentary street photography is creatively exhausted.