{"id":257527,"date":"2022-12-19T00:24:54","date_gmt":"2022-12-19T00:24:54","guid":{"rendered":"https:\/\/theprisma.co.uk\/?p=257527"},"modified":"2022-12-23T15:50:23","modified_gmt":"2022-12-23T15:50:23","slug":"chris-killip-historia-opuesta","status":"publish","type":"post","link":"https:\/\/theprisma.co.uk\/es\/2022\/12\/19\/chris-killip-historia-opuesta\/","title":{"rendered":"Chris Killip: historia opuesta"},"content":{"rendered":"

Exposiciones como la que se presenta actualmente en The Photographers Gallery de Londres son cada vez m\u00e1s valiosas en una \u00e9poca en la que la fotograf\u00eda art\u00edstica se dedica cada vez m\u00e1s a proyectos personales de escaso inter\u00e9s p\u00fablico o que est\u00e1n centrados en el concepto, corriendo el \u00a0riesgo de desaparecer por sus propios m\u00e9ritos. <\/em><\/p>\n

 <\/p>\n

\"\"
Youth on wall, Jarrow, Tyneside, 1975 \u00a9 Chris Killip Photography Trust. Imagen cortes\u00eda de Martin Parr Foundation.<\/figcaption><\/figure>\n

Sean Sheehan<\/span><\/strong><\/p>\n

 <\/p>\n

Lo contrario ocurre con Chris Killip, quien fotografi\u00f3 a aquellos a los que, seg\u00fan dijo una vez, \u00abSe les hab\u00eda hecho historia\u00bb.<\/p>\n

Fotografi\u00f3 a hombres, mujeres y ni\u00f1os que no se beneficiaron de un sistema econ\u00f3mico que determin\u00f3 negativamente sus oportunidades en la vida.<\/p>\n

Esto podr\u00eda ser una receta para el derrotismo, pero Killip utiliz\u00f3 su c\u00e1mara con una ternura y precisi\u00f3n que dan testimonio de lo que John Berger expres\u00f3 cuando escribi\u00f3 sobre la capacidad de la fotograf\u00eda para montar una \u00aboposici\u00f3n a la historia\u00bb.<\/p>\n

Killip (1946-2020) ten\u00eda diecisiete a\u00f1os cuando vio en una revista una fotograf\u00eda de Cartier Bresson, una escena callejera con un chico que llevaba dos botellas grandes.\u00a0 La recuerda como un momento importante<\/a> de su vida: \u00abMe par\u00f3 en seco y me dej\u00f3 embelesado\u00bb.<\/p>\n

Al observar la vida de la clase trabajadora brit\u00e1nica en los a\u00f1os setenta y ochenta, siempre se vislumbraba una sombr\u00eda desesperaci\u00f3n en el horizonte, y la fotograf\u00eda de Killip de 1976 de un joven agazapado en Jarrow, Tyneside, parece emblem\u00e1tica de esta sensaci\u00f3n de estar al borde de la desesperaci\u00f3n.<\/p>\n

\"\"
Helen and her Hula-hoop, Seacoal Camp, Lynemouth, Northumbria, 1984 \u00a9 Chris Killip Photography Trust. Imagen cortes\u00eda de Martin Parr Foundation.<\/figcaption><\/figure>\n

La imagen es caracter\u00edstica de la atenci\u00f3n que Killip presta al cuerpo humano como expresi\u00f3n de una condici\u00f3n social, pero su respuesta a las vidas acorraladas por un orden pol\u00edtico deshumanizador es m\u00e1s matizada y menos arquet\u00edpica de lo que representa esta fotograf\u00eda.<\/p>\n

Tomemos, por ejemplo, su \u201cCrabs, people, dogs\u201d<\/a> (Cangrejos, gente, perros), tomada cuando pasaba una temporada en los alrededores del pueblo de Skinningrove, en North Yorkshire, a principios de la d\u00e9cada de 1980.<\/p>\n

La composici\u00f3n de su escena costera -un hombre y una mujer mirando al mar, un beb\u00e9 invisible en un cochecito, un conductor al volante de un coche aparcado en una grada, un carro de cangrejos y dos perros que miran alerta en distintas direcciones- desaf\u00eda la interpretaci\u00f3n narrativa al no contar sino mostrar una aprensi\u00f3n indefinida, una espera sin final. No se trata de una desesperaci\u00f3n irremediable, y la escena desprende un aire de misterio. Incluso cuando las personas est\u00e1n f\u00edsicamente distanciadas unas de otras, comparten algo que es vital para su ser y que est\u00e1 ligado a la particularidad de su comunidad y al panorama pol\u00edtico m\u00e1s amplio que amenaza su autonom\u00eda.<\/p>\n

Otra de sus fotos de Skinningrove es la de una familia de cuatro miembros que sale a dar un paseo dominical por los alrededores de su pueblo; acostumbrados a las circunstancias, se re\u00fanen en un silencio que habita el espacio que les rodea.<\/p>\n

\"\"
Family on a Sunday walk, Skinningrove, 1982 \u00a9 Chris Killip Photography Trust. Imagen cortes\u00eda de Martin Parr Foundation<\/figcaption><\/figure>\n

Hay similitudes entre esta foto y la de \u00abCangrejos, gente, perros\u00bb: las posturas de los dos hombres sugieren un anhelo de algo y la presencia de las mujeres se hace eco del desider\u00e1tum.<\/p>\n

Todos est\u00e1n de espaldas a la c\u00e1mara, no en se\u00f1al de derrota, sino a la espera de algo. Los dos perros esperan de pie; el conductor del coche parado en la rampa tambi\u00e9n espera.<\/p>\n

\u201cChris Killip, Retrospective\u201d <\/em>estar\u00e1 en The Photographers Gallery<\/a><\/em>, Londres, hasta el 19 de febrero.<\/p>\n

(Traducido por M\u00f3nica del Pilar Uribe Marin) –<\/strong> Fotos suministradas por la galer\u00eda y autorizadas para su publicaci\u00f3n.<\/em>
\n<\/strong><\/span><\/p>\n

\n\t\t\t\t\tTweet<\/a>\n\t\t\t\t<\/div><\/div>","protected":false},"excerpt":{"rendered":"

Exposiciones como la que se presenta actualmente en The Photographers Gallery de Londres son cada vez m\u00e1s valiosas en una \u00e9poca en la que la fotograf\u00eda art\u00edstica se dedica cada vez m\u00e1s a proyectos personales de escaso inter\u00e9s p\u00fablico o que est\u00e1n centrados en el concepto, corriendo el \u00a0riesgo de […]<\/p>\n","protected":false},"author":9,"featured_media":257611,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24,14,7,26],"tags":[],"class_list":["post-257527","post","type-post","status-publish","format-standard","has-post-thumbnail","category-cultura","category-en-foco","category-opinion","category-paginas"],"yoast_head":"\nChris Killip: historia opuesta - ThePrisma.co.uk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/theprisma.co.uk\/es\/2022\/12\/19\/chris-killip-historia-opuesta\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Chris Killip: historia opuesta\" \/>\n<meta property=\"og:description\" content=\"Chris Killip fotografi\u00f3 a aquellos a los que, seg\u00fan dijo una vez, "Se les hab\u00eda hecho historia".\" \/>\n<meta property=\"og:url\" content=\"https:\/\/theprisma.co.uk\/es\/2022\/12\/19\/chris-killip-historia-opuesta\/\" \/>\n<meta property=\"og:site_name\" content=\"ThePrisma.co.uk\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/ThePrismaTheMulticulturalNewspaper\" \/>\n<meta property=\"article:published_time\" content=\"2022-12-19T00:24:54+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-12-23T15:50:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2022\/12\/Family-on-a-Sunday-walk-Skinningrove-1982-\u00a9-Chris-Killip-Photography-Trust.-All-images-courtesy-Martin-Parr-Foundation.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"720\" \/>\n\t<meta property=\"og:image:height\" content=\"576\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"ThePrisma\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Chris Killip: historia opuesta\" \/>\n<meta name=\"twitter:description\" content=\"Chris Killip fotografi\u00f3 a aquellos a los que, seg\u00fan dijo una vez, "Se les hab\u00eda hecho historia".\" \/>\n<meta name=\"twitter:image\" content=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2022\/12\/Family-on-a-Sunday-walk-Skinningrove-1982-\u00a9-Chris-Killip-Photography-Trust.-All-images-courtesy-Martin-Parr-Foundation.jpg\" \/>\n<meta name=\"twitter:creator\" content=\"@The_Prisma\" \/>\n<meta name=\"twitter:site\" content=\"@The_Prisma\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"ThePrisma\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2022\\\/12\\\/19\\\/chris-killip-historia-opuesta\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2022\\\/12\\\/19\\\/chris-killip-historia-opuesta\\\/\"},\"author\":{\"name\":\"ThePrisma\",\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/#\\\/schema\\\/person\\\/24f5091d3dc50052d73cbea6ecd09df7\"},\"headline\":\"Chris Killip: historia opuesta\",\"datePublished\":\"2022-12-19T00:24:54+00:00\",\"dateModified\":\"2022-12-23T15:50:23+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2022\\\/12\\\/19\\\/chris-killip-historia-opuesta\\\/\"},\"wordCount\":698,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2022\\\/12\\\/19\\\/chris-killip-historia-opuesta\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/theprisma.co.uk\\\/wp-content\\\/uploads\\\/2022\\\/12\\\/Fotografia-camara-hombre-prensa-Pixabay.jpg\",\"articleSection\":[\"Cultura\",\"En Foco\",\"Opini\u00f3n\",\"P\u00e1ginas\"],\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2022\\\/12\\\/19\\\/chris-killip-historia-opuesta\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2022\\\/12\\\/19\\\/chris-killip-historia-opuesta\\\/\",\"url\":\"https:\\\/\\\/theprisma.co.uk\\\/es\\\/2022\\\/12\\\/19\\\/chris-killip-historia-opuesta\\\/\",\"name\":\"Chris Killip: historia opuesta - 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