Lautaro Bianchi is a freelance artist active in the spheres of photography and video, he worked as an architect before he started as a visual artist having scholarship from the Faculty of Fine Arts of Valencia, Spain, were he specialised in silver print processes and laboratory technics. Bianchi’s photos question the visual borders, wanting, their nature or rather our human impulse to pretend to see everithing and not be able to, he use photography as a means of experimentation questioning his ontology as a media. He participated in major international fairs and exhibitions of contemporary art in South America among as ArteBA, BaPhoto and LimaPhoto. Nowadays he lives and works in Berlin and he is represented by RolArt gallery, Buenos Aires, Argentina.
The first thing I learned as a child was my own name.
With this project I inquire on behalf of itself, the origin of the name that was given to me and that evokes the emancipator character of Mapuche Indian who fought for independence in the time of discovery and colonization in Latin America. “The name I’m being” is the voice we’re not listening, in a sort of lip reading puting into play the origin of each one of us under the name in a past time, “in-fāns”- in the formula of the child, who does not speak, the voiceless-, and that cacophonous game puts us in the face.
How far we are able to see the other?
The closer we look the less we know. I portrayed this child named “Luz” looking with his face close to the camera lens enlarging the image as much as possible in order to protect her, to hide her. Her image puts us away from there, from far away only she can be seen. Her look on the eyes puts us in an ideal space where the body responds to your desire and frustration: see and not to see.
Tunnels are transitional spaces that connect things. These images come from introspective states, walk a tunnel is a way of exploring yourself. I stand in the tunnel entrance precisely because from there you can see both the exit. I repeated the photographic shot of reflection on recognizing me in those distorted silhouettes walking on water surface, placing them in the center of the frame representing an eyeball whose iris is moving, imagining the mirror as a portal space-time. I photograph that fantasy, fear of transfer or difficulty.
Time in leak
I explore the idea of transiting assuming that the perception of time and space are a fantasy. An experiment in which I use the camera as a chronometer to record all the information that intersects with me, 36 photographs taken at regular intervals along an urban tour give form to this composite image of all shots featuring in a roll of film. The precision of the program does not hide the arbitrary nature of a photograph that condenses timed lapses in an incongruous visually.
This image postulates an aesthetic of the empty, and pierces the purely representative organization of frame. A naked image from a roll of film that is not fully developed. The camera records what “is not there” and at the same time what that “could be there”, showing us that the zero degree of photography is itself a potencial and a stand. The photograph looks at the World.
This photograph is inverted (rotated 180 °). How vulnerable our sense of sight?. Our brain tends to eliminate large amount of information received from the eye when it doesn’t recognize things and inhibit them replaceing what it can’t identify with something similar, auto-completing the information. The brain is what ultimately perceives reality and creates for us our interpretation of the world that we are able to see.
No matter how calm or adorable it may be, every landscape hides a narrative layer which unveils no clue. Surrendering our eyes to it inundates us with a futile search, where the lack evidence establishes a close and elusive link, as in a crime scene. In this project the nature scatters randomly in fragments over the frames only to be rearranged in a different way as in a film capable of picking up the pieces.
“Es tut mir Leid”
“Es tut mir leid” is the phrase of denied entry that is offered at the door of Berghain, one of the most important techno music club of the world well known for its strict door policy. It is an ambiguous form of rejection, that expresses exclusion and apology at the same time. Berghain has been associated with decadence and hedonism, where people carry out openly sexual acts. Taking pictures is strictly prohibited and no mirrors or reflective surfaces exist inside the club. The photos address this problem in the framework of a state that offers real but fictitious rights and freedoms, and whose sense of well-being and security seems to conform to the vast majority of people.