Instantes decisivos

162

Claudia Avila

Ese momento preciso en el que no estás mirando y se derrama la leche hirviendo. Algo así podría hablarnos de la importancia del presente, nuestro único patrimonio verdadero. Esta forma de asistir a la vida, observando fijamente, va afinando nuestras búsquedas.

Lo sueños suelen iniciar por bastas generalidades de información y expectativas, creamos imágenes en movimiento en nuestro viaje recurrente al futuro y al pasado, un acto melancólico y amañado. Es la selección natural la que va criando el instinto para saber en dónde buscar, y tal vez, qué es lo que buscamos. Es el acto de contemplar, de subir, de girar, de adaptar los blancos y negros, las largas exposiciones y la sensibilidad a la luz. Es el camino, largo y tramposo, lo que nos obliga a hallar las palabras para entender lo que es la vida.

Vamos a hacer un paralelo. Tomaremos la obra de Henri Cartier Bresson, fotógrafo francés considerado por muchos el padre de la foto reportería. Un gran número de sus piezas está expuesta por estos días en Bogotá. Entrada libre en el Museo del Banco de la República[1] hasta el 28 de Agosto.

En sus series de fotografías y en su trabajo intelectual, Bresson afirma: “La fotografía es, para mí, el impulso espontáneo de una atención visual perpetua, que atrapa el instante y su eternidad.”[2]

Bresson trabajó con surrealistas hacia 1930. Esta corriente artística le da prioridad al subconsciente a la hora de la creación. Las imágenes fotográficas crean espejismos. Pueden ser leves, pesadas, políticas. Mentir y favorecer versiones, son un truco. Dejan levitando en un salto eterno. ¿Durante cuántos años ha estado la ciudad gris?, como un espejo de agua que estará mojado para siempre. O el beso más romántico captado por Alfred Eisenstaedt, para ‘Time Life’ tras la Segunda Guerra Mundial. Ha eternizado la dicha en una fotografía.

Alfred Eisenstaedt, Times Square 1945.

“De todos los medios de expresión, la fotografía es el único que fija el instante preciso. Jugamos con cosas que desaparecen y que, una vez desaparecidas, es imposible revivir… Para nosotros, lo que desaparece, desaparece para siempre jamás: de ahí nuestra angustia y también la originalidad esencial de nuestro oficio.”[3]

Cartier-Bresson,
saint lazare 1932.

Y no solo de nuestro  oficio. La fotografía es una excusa para preguntarnos por el sentido que le damos a este paso por el mundo. Somos legados de un pasado inmenso y la minúscula esperanza en un futuro que se pierde en el horizonte. Los instantes decisivos revolotean por doquier, en la búsqueda del fotógrafo, en la insistencia en ser felices.

Ahora bien, el instante decisivo no es una habilidad natural. Al parecer se desarrolla con el tiempo, como otras formas de adaptación. Los artistas trabajan constantemente, se entrenan en la construcción e interpretación de imágenes, ejercicio que les permite construir discursos y desarrollar conceptos para retroalimentar el ecosistema visual. El ejercicio de capturar al hombre saltando sobre el charco, impulsándose desde la escalera tendida en el suelo, responde  a la observación de la observación, es decir, un ejercicio reflexivo sobre lo que nos es natural, como el movimiento. No es ver el suelo bajo nosotros mientras corremos, es percatarnos de que estamos mirando ese suelo mientras corremos. Ir dentro e ir a nuestro lado.

Igual que un padre le advierte al hijo que  -¡¡ Se va a pegar!!-,prevenir el salto en esta fotografía es un ejercicio de obviedad que toma tiempo para percibir, es el ejercicio del presente en su pura esencia, en la mirada atenta. No se trata de un juego de suerte en el que el salto coincidió mágicamente con la obturación del botón. Es el conocimiento que da la vida cotidiana lo que forma al especialista. La suma de las causas que nos han traído acá y que han sido instantes determinantes en la forma en que leemos y anticipamos en mundo.

Henri Cartier Bresson, autorretrato.

En la obra de Bresson encontramos un interesante trabajo en escala de grises, con revelados analógicos que logran destacar las ricas texturas y las  irregularidades de los terrenos. Sus composiciones, el manejo de líneas e intersecciones, le dan a sus fotografías un alto nivel de estructura. Esta y muchas más razones hacen de su obra una de las más importantes en la herencia de las artes plásticas y visuales del siglo XX. Las herencias del tiempo, de propiciar la observación. Este tipo de viajes emocionales e intelectuales que nos podemos dar gracias al arte y al poder de la humanidad.

Mientras tanto sigamos buscando los instantes decisivos. Tejiendo en medio de esta enorme red de sentidos y de caminos. Entendiendo la vida como un amarrado de casualidades. De momentos, de situaciones desesperadas y medidas extremas”, de pasión, de locura, de un eterno presente que se nos escapa de las manos, y que nunca se acaba.

@LaPantellaTV

[1]Cartier-Bresson Henri, Fotografiar del natural, Editorial Gustavo Gili, Barcelona 2003, p. 18

[2] Cartier-Bresson Henri, Fotografiar del natural, Editorial Gustavo Gili, Barcelona 2003, p. 35. Referencia encontrada en https://oscarenfotos.com/2011/11/19/el-significado-del-instante-decisivo-de-henri-cartier-bresson/#_edn9

[3] Exposición HENRI CARTIER-BRESSON

El Museo de Arte Miguel Urrutia (MAMU) del Banco de la República tiene el gusto de presentar esta exposición. 13 de Mayo de 2017. 11:00 am – 28 de Agosto de 2017. 6:30 pm

BOGOTÁ, Museo de Arte Miguel Urrutia -MAMU-, Piso 3

Fuente: http://www.banrepcultural.org/bogot/evento/henri-cartier-bresson

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