{"id":9684,"date":"2024-01-22T11:10:18","date_gmt":"2024-01-22T08:10:18","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=9684"},"modified":"2024-03-05T13:46:26","modified_gmt":"2024-03-05T10:46:26","slug":"oliver-merce-the-anatomy-of-decay","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=9684","title":{"rendered":"Oliver Merce: The Anatomy of Decay"},"content":{"rendered":"
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Oliver Merce este n\u0103scut \u00een Bihor, locuie\u0219te \u00een Timi\u0219oara \u0219i a participat la numeroase expozi\u021bii personale \u0219i de grup: Ia\u0219i, Ploie\u0219ti, Negre\u0219ti Oa\u0219, Cluj-Napoca, Byalistok \u0219i Bielsko-Biala (Polonia), Bucure\u0219ti, Ploie\u0219ti, Baia Mare, Paris (Fran\u021ba), Timi\u0219oara. Multiplu premiat na\u021bional \u0219i interna\u021bional.<\/pre>\n\n\n\n
Arareori \u00een fotografia autohton\u0103 un proiect fotografic este dus p\u00e2n\u0103 la cap\u0103t,estefinalizat \u00eentr-o carte. Iar atunci c\u00e2nd aceasta e tip\u0103rit\u0103, ajunge \u00een libr\u0103rii \u00een pu\u021bine exemplare \u0219i se epuizeaz\u0103 mai mult printre prieteni \u0219i cuno\u0219tin\u021be. Cum nu exist\u0103 o pia\u021b\u0103 de fotografie \u00een Rom\u00e2nia, e greu s\u0103 func\u021bioneze, \u00een paralel, o pia\u021b\u0103 de carte de fotografie, de\u0219i \u00een ultima vreme lucrurile, aparent, se mi\u0219c\u0103 mai vioi dec\u00e2t \u00een urm\u0103 cu, s\u0103 zicem, un deceniu. Fotografii par a fi mai con\u0219tien\u021bi c\u0103 o carte r\u0103m\u00e2ne o m\u0103rturie formidabil\u0103 c\u0103reia nu-i crap\u0103 hard-disk-ul c\u00e2nd \u021bi-e lumea mai drag\u0103. Oliver Merce a lucrat de la bun \u00eenceput a\u0219a: proiectul \u0219i cartea. Fiecare tandem<\/em> i-a luat c\u00e2\u021biva ani: The Anatomy of Decay<\/em> (2016), 5 Years of Shooting Street Photography<\/em> (2017), For You<\/em> (2019), Dogs<\/em> (2022).<\/p>\n\n\n\n
Pentru The Anatomy of Decay<\/em> lui Oliver Merce i s-a dat h\u00e2rtie liniat\u0103. Despre Anina \u0219i copiii ei vitregi, Ora\u015ful Nou \u0219i Crivina, s-au scris \u0219i s-au spus istorii \u00eentregi. \u0218i s-a fotografiat zdrav\u0103n. Ca s\u0103 evite capcana repeti\u021biei a trebuit s\u0103 scrie printre r\u00e2nduri. \u0218i n-a adus nimic din condei. A semnalat cu talent, serios \u0219i aplicat, ca un martor nomad al timpurilor moderne, situa\u021bii, fapte, \u00eent\u00e2mpl\u0103ri.<\/p>\n\n\n\n
A\u0219a l-am cunoscut eu: dornic s\u0103 descopere \u0219i s\u0103 spun\u0103 lucruri noi despre o zon\u0103 secat\u0103 chirurgical de pove\u0219ti. Pentru a le g\u0103si pe cele care conteaz\u0103 a s\u0103pat ad\u00e2nc \u00een memoria locului \u0219i a oamenilor. A devenit timp de mai bine de doi ani nu doar musafir \u00een ele, ci \u0219i confidentul lor de \u00eencredere. Descoperind umanitatea altora, Oliver Merce s-a trezit \u00een propria umanitate, sufocat\u0103 o vreme de zgura urban\u0103 \u0219i de viteza \u00een care e nevoit omul contemporan s\u0103-\u0219i tr\u0103iasc\u0103 via\u021ba.  The Anatomy of Decay<\/em> dep\u0103\u0219e\u0219te simplul demers jurnalistic \u0219i c\u00e2\u0219tig\u0103 \u00een dimensiune prin implicarea social\u0103 a autorului.. Astfel c\u0103, dincolo de latura estetic\u0103, proiectul dezvolt\u0103 \u0219i o component\u0103 etic\u0103. Fotografia sa nu este numai un parcurs spre educa\u021bie, ci \u0219i spre omenie. O emo\u021bionant\u0103 resurec\u021bie sanitar\u0103 a con\u0219tiin\u021bei.<\/p>\n\n\n\n
Cartea \u00eencepe \u0219i se sf\u00e2r\u0219e\u0219te eliptic, cu nenum\u0103rate cadre v\u0103duvite de prezen\u021b\u0103 uman\u0103. Debuteaz\u0103 descriptiv \u0219i finalizeaz\u0103 \u00een metafor\u0103. Oliver Merce fotografiaz\u0103 simplu, f\u0103r\u0103 prea multe figuri de stil, pentru a descrie c\u00e2t mai exact un mediu social arid \u00een care via\u021ba pare s\u0103 nu fi ap\u0103rut \u00eenc\u0103 (imaginile de deschidere) sau din care s-a scurs cu des\u0103v\u00e2r\u0219ire (cadrele de final). Numitorul comun e c\u00e2inele, element al unei alegorii buimace, care se plimb\u0103 aparent f\u0103r\u0103 \u021bint\u0103, de colo-colo, \u0219i face trecerea \u00eentre capitole. Ca \u0219i firul c\u0103l\u0103uzitor si izb\u0103vitor al Ariadnei, acompanierea lui \u00eenseamn\u0103 \u00eens\u0103 ie\u0219irea din labirint.<\/p>\n\n\n\n
\u00cen mijlocul proiectului stau oamenii. Uneori \u2013 hologramele lor, at\u00e2t par de sec\u0103tui\u021bi de putere \u0219i de speran\u021b\u0103. Fotograful nu hiperbolizeaz\u0103 situa\u021biile \u0219i nu dramatizeaz\u0103 limbajul vizual: liniile, suprafe\u021bele, formele, volumele \u0219i tonurile se p\u0103streaz\u0103 \u00eentr-o geometrie a bunei m\u0103suri \u0219i a bunului sim\u021b. Cu toate c\u0103 fotografia sa este una documentar\u0103 solid\u0103, frontal\u0103, bazat\u0103 pe obiectivitate \u0219i acurate\u021bea observa\u021biei, ca modalitate de expresie Oliver Merce este mai degrab\u0103 un liric. Un empatic, un tributar al emo\u021biilor care-l traverseaz\u0103 atunci c\u00e2nd documenteaz\u0103 o situa\u021bie, un fapt. Percep\u021bia sa asupra lucrurilor nu deformeaz\u0103 \u00eens\u0103 realitatea; doar o \u00eencarc\u0103 din c\u00e2nd \u00een c\u00e2nd emo\u021bional, ceea ce scurteaz\u0103 \u0219i u\u0219ureaz\u0103 drumul c\u0103tre semnifica\u021bie. Povestea nu e alc\u0103tuit\u0103 din imagini disparate care pot fi citite oricum \u0219i \u00een orice ordine. Atragerea privitorului \u00een acest joc \u00eenseamn\u0103 \u0219i punerea lui pe picior de egalitate cu artistul. Fotografiile lui Oliver Merce au calitatea c\u0103 vin \u0219i pleac\u0103 \u00eenspre \u0219i dinspre privitor. Sunt \u00een acela\u0219i timp particul\u0103 (pixeli, pelicul\u0103, h\u00e2rtie), dar \u0219i und\u0103 (emo\u021bie, mesaj). O \u201ecoincidentia oppositorum\u201d str\u0103mutat\u0103 aici din cuantic\u0103.<\/p>\n\n\n\n
The Anatomy of Decay<\/em> aplic\u0103 un pansament reconfortant peste vremurile gr\u0103bite, cu respira\u021bia t\u0103iat\u0103 pe care le tr\u0103im. Oliver Merce a ales s\u0103 documenteze vizual o istorie b\u0103gat\u0103 sub pre\u0219, aneantizat\u0103 \u00eempreun\u0103 cu dramele ei. Imaginile picheteaz\u0103 discret \u0219i inflexibil memoria colectiv\u0103 a acestei p\u00e2r\u021bi de lume. Un timp al tr\u0103irii devine sub ochii no\u0219tri un timp al m\u0103rturisirii.<\/p>\n\n\n\n
The Anatomy of Decay<\/em> reprezint\u0103 doar un mic fragment dintr-un proiect foarte frumos, solicitant \u0219i echilibrat. Toate proiectele fotografului timi\u0219orean pot fi g\u0103site aici: www.olivermerce.ro<\/p>\n\n\n\n
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Four children playing „Cruce” (a card game) at the entrance to a building in the neighborhood „New Town” in Anina.<\/figcaption><\/figure>\n\n\n\n
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Ion Cojocea with his daughter and one of his grandchildren, preparing lunch in the kitchen of the apartment – New Town district.<\/figcaption><\/figure>\n\n\n\n
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Samuel plays chess with his father (Crivina district – Anina city)<\/figcaption><\/figure>\n\n\n\n
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One of four Ildiko’s children expects to receive lunch. Ildiko grows her own four children, her husband is in jail.<\/figcaption><\/figure>\n\n\n\n
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A woman, resident of the Crivina district – Anina city, looking for scrap on the platform  former power plant. Selling scrap is one of the sources of income of these residents.<\/figcaption><\/figure>\n\n\n\n
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On the platform of the former power plant lie piled helmets of former workers.<\/figcaption><\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"
Artistul lunii octombrie<\/p>\n","protected":false},"author":76,"featured_media":9685,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[51,63],"tags":[406,155,599,1974,1999],"coauthors":[1202],"class_list":["post-9684","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","category-artistul-lunii","tag-arte","tag-artistul-lunii","tag-florin-sipos","tag-nr-10-2023","tag-oliver-merce"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2024\/01\/Oliver-Merce.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/9684","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/users\/76"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9684"}],"version-history":[{"count":3,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/9684\/revisions"}],"predecessor-version":[{"id":9984,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/9684\/revisions\/9984"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/9685"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9684"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9684"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9684"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=9684"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}