CCORRA

2020—

Is it made or is it real? You have to choose!

Latour, B,, “What is Iconoclash? Or is there a World Beyond the Image Wars?” , Latour, B., Weibel, P. [eds.], ICONOCLASH [exhibition catalogue], MIT Press, 2002, p. 24.

CCORRA is a project that portrays the strangeness of the everyday. It recounts a series of photographic encounters with the unusual-daily, seeking to produce a sense of confusion in the viewer.

The project consists of a series of photographs that, through a process of constant estrangement, reveal the sublime in reality, the sculptural in the abandoned. The images, as results of observing certain moments of everyday and unreal intimacy, function not as answers but as questions. The photographer/narrator (literature is a trick) offers no explanations about the unusual events, only clues: within the photographic selection are some images that reveal a dissociation between some of them. Which one is real? Is there one? Aren't they all real?

The geography of the city of Porto, as a backdrop, resembles a cemetery. There's a touch of melancholy in the sound of the emerging photographs. Not because many of them were taken during lockdown, but because it's the overall tone sought for this work: before, during, and after the streets were emptied by the pandemic.

This series straddles the fine line between documentary and magic. Through repetition and associative placement, the photographs—sometimes direct, sometimes more subtle—begin to connect, establishing a disquieting transformation of reality that is gradually being unmasked. Glitch blinds, doppelgangers, people crouching, processions of severed heads.

This entire photographic series is created with one element in mind: the idea of a "continuity error" (the project's name is an acronym), which functions as a subtle narrative tool (casual photographic interventions through direct observation) and as a more direct visual tool (post-production editing of the photographs). The result is always the aforementioned strangeness of the everyday, which produces a detachment—or at least a questioning—of ‘reality’.

Five series. One general series, four within it that, again, break the continuity: a series of graffiti—real? Imagined? A city that systematically erases Death, the abyss of falling tiles; water, which never stops flowing.

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finalista MAPA | Escuela LENS (Madrid, ES)
to be published | Pierrot Le Fou (Porto, PT)

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Virginia de Diego

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CCORRA