#Claudio Ethos

[artfromthefuture]

Köln-Ehrenfeld / Rheinische Musikschule / Mural by Werner Wittersheim Via Flickr: This is the main building of the conservatory of the City of Cologne (the institution is decentralized and runs branches all over Cologne). Fellow Flickrist "Seltene Erden" ( www.flickr.com/photos/23436744@N07/ ) helped me out with the information that the wonderful mural is a painting by Claudio Ethos. The Brasilian artist from Sao Paulo (link: www.claudioethos.com/) created this work as a contribution to the Cityleaks Urban Art Festival (link: www.cityleaks-festival.de/claudio-ethos).

[barbarapicci]

Streetart by Claudio Ethos @ Sao Paulo, Brazil

More info at: https://barbarapicci.com/2023/09/04/streetart-claudio-ethos-sao-paulo-brazil-4/

[nedsecondline]

Streetart – Claudio Ethos @ Jæren, Norway

Location: Jæren, Norway Artist: Claudio Ethos (Brazil) For: Opplev Jæren Year: 2023 Photo Credits: Claudio Ethos USEFUL LINKS: Claudio Ethos in this …Streetart – Claudio Ethos @ Jæren, Norway

[sithwitch13]

OKAY SO

The short short short version is that the Emperor of Mankind made himself a whole mess of kids to represent aspects of himself but Chaos split them up so they all have a different Thing. Then there was a huge fight between a bunch of the sons because of Chaos and trauma and the God-Emperor is now basically a sort of undead corpse on a throne/life support system ANYWAYS.

Chaos is exactly that, and there's four gods of it (change, disease, violence, and hedonism) and some of the space marines (super soldiers led by the aforementioned sons of the God-Emperor) decided this sounds rad (see: Noise Marines) and basically they are trying to fight and fuck their way across the galaxy. There's also space elves and sentient fungus soccer hooligans and space elves that fuck and anime aliens but that's not important right now.

The whole religion of Mankind is a cult. Like, some of the prayers are "Blessed are the minds too small to doubt." Part of the tragedy of the whole thing is that the Emperor didn't want to be worshipped but like I said he's just sort of there now and has no say. So now we've got battle nuns and regular soldiers and a religious caste who worship technology and inquisitors who find and stop Heresy. (Heresy is not worshipping the Emperor, and also being cool with aliens and mutants.)

All that to say that yes, Claudio is using nerd shit for character work exceptionally well. He is the mind too small to doubt Mox. Mox is his figure of worship, effectively. Anyone not in line with the Death Riders' ethos is a heretic, and heretics must be purged.

Trying to piece together more of what is written on Claudio's jacket which is so hard when he doesn't stay still for long enough for any of it to be clearly legible. The one on its own side was way easier!

Fragments I think I've picked out from the top one on the other side could be "I swear to fulfil my role... dragon show what rash... all they might throw at me for the one true king" but it could also be "with all my might"

The one on his back starts "lead by example," and says "and pursue the" at the end but I can't make out the last word

Obviously these are my best guesses from trying to see what it says while he's in near constant motion, I'll have to review everything after some sleep and see if I can figure out more

[soundtextimage]

Claudio Ethos: Elbow On Knee

[allpublicart-blog]

New murals from Claudio Ethos BPTH in Switzerland and USA. First mural was done in Long Beach New Jersey for Whitechapel project, and the second is a collaboration piece with Wes21 in Switzerland named “The Cow on Alps”.

[wrestlingisfake]

Forbidden Door preview 5/10

Zack Sabre Jr. vs. ? - On June 12, Sabre issued a challenge to Bryan Danielson for a long-awaited dream match. When Danielson responded on June 22, he announced he wouldn't be medically cleared for this show. Instead Sabre will face an opponent of Danielson's choosing, who will be a new member of the Blackpool Combat Club faction. Danielson has assured the fans that this man is the only person that meets his high standards to sub for him. Whoever it is, the mystery man will also replace Danielson in the "blood & guts" double cage match on June 29.

With Danielson out, the hype for this match has pivoted to "technical showcase" to "who's the mystery man?" Johnny Gargano was trending on Twitter almost as soon as Danielson introduced the question. With all due respect to Gargano (who would no doubt have a great match with ZSJ), he doesn't seem like a proper fit for the Blackpool Combat Club's ethos. Claudio Castagnoli (formerly Cesaro in WWE) is another popular, and more pragmatic, guess. I haven't seen anybody suggest Bray Wyatt, but I bet somebody thinks it'll be him.

Frankly, I don't recall AEW giving any assurances that the mystery opponent would be an established star we've all heard of, or even that it would be a free agent debuting with the company. I could very easily see Danielson plucking Lee Moriarty from AEW's undercard to represent him here, or AEW signing an obscure-yet-gifted indy guy. Would fans be let down by those possibilities? Yeah. Would Tony Khan do it anyway, and then rationalize it for an hour on the post-show scrum? Absolutely.

My personal preference would be for the BCC to recruit a young prodigy along the lines of Wheeler YUTA. A veteran grappler (e.g. Timothy Thatcher, Biff Busick, etc.) would be fine, but I'd be more into making a new star in one week. The only indy guy I can think of right now would be Fred Yehi, but I'd happily take a cool dude I've never heard of, with Danielson's stamp of approval.

I'm sure all this talk about the mystery opponent is irritating Zack Sabre, who'd rather focus on the match and how he's going to win it. Which is good, because pissed-off noodle man is always the best noodle man. Until I know who he's facing, I have to pick Sabre to win.

[meeeeeeellllll]

WALL

Claudio Ethos

5th & Main DTLA

[scenefromthesidewalk]

MAIN STREET, LOS ANGELES

by Claudio Ethos

Brazilian artist Claudio Rafael, aka Claudio Ethos, tells Find Art Magazine he believes "art is about process, discovery, and letting go of yourself...." He refuses to define his surreal images and says his work is "born from prolific dreams that haunt him two weeks at a time." In translating those dreams Claudio told @UrbanNation_Berlin his goal is to “depict emotional and spiritual states because there are no accurate definitions for so many of these sensations" and @PrettyPortal describes the result as a "twisted manipulation of images and landscapes." Now living part-time in Los Angeles, this untitled 8-year-old work on Main St at 5th St was one of the early pieces credited with helping launch the resurgence of public art in Downtown LA.  @claudioethos/

[rogerdeakinsdp]

Academy Award Winners for Best Cinematography: 2013 — Claudio Miranda, ASC Life of Pi (2012) Directed by Ang Lee Aspect Ratio: 1.85 : 1

“Ang wanted to go a little bit further in this movie, however – to bring out emotions by where people sit in the screen, how much they intrude into your space, and at times just bring things a little bit closer.”

“When I did Tron people told me the rules and I said: “Okay, well, let’s see why we don’t want to do any of that stuff.” He ended up experimenting, pushing the envelope and shooting Tron his own way; he took this ethos to Pi and occasionally tried the “stuff you’re not supposed to do ... you need to ask questions; maybe a certain technique's not right all the time but it could be great now. So there are a lot of rules broken!”

“For one scene in India we used almost one hundred thousand candles,” recalls Miranda. “We lit up the night. In the scene, a sleeping Vishnu is carried down to a pool and is paraded around the water on a floating barge. The whole production crew was lighting candles – everyone was lighting candles. That was an awesome moment.” — [x]

[plunder-heaven-and-devour-god]

im gonna go full english lit under the cut

I saw measure for measure??? with my local Shakespeare in the Park about  month and a half ago and im mcfucking obsessed with it. So much so that ive tried to find every clip of every film, every show, rehearsal, production, that i can to compare how scenes played out. I even listened to a harvard lecture about it, i’m that far gone. I BOUGHT. A SHIRT. I bought the book with additional notes and discussions because this play is fascinating.

WHY AM I OBSESSED?!

All readings through different lenses are there in full force, fully supported, living side beside with one another. And professors, actors, directors, scholars etc, all seem to congregate on the fact that not one reading is more valid than the other. Theyre so well balanced without ever really given moral answers but merely presented, almost like the Jacobean meaning of the “glass” both a mirror to predict the future and reflect on oneself. And in a post elizabethan age where puritans were outlawing plays and putting stricter holds on licentiousess this play is so close to upsetting the dominant religious force.

And the READINGS! ARE ALL! SO GOOD! There is historicist reading (king James I), Folkloric, Religious, SadoMasochist, Psychosexual, Moral, Feminist, and Capitalistic readings. THEY ALL EXIST SIDE BY SIDE.

And the staging of the play determines how many of these a production can pull together. I think that is why I wanted to see as many scenes are possible. 

I think just the way Angelo and Isabella are played will determine which main reading the play tackles. 

I’ve seen some versions of the interview scenes that are truly horrific acts of sexual violence that made me watch between my fingers. In this the feminist reading can come into full force, the full underline of Angelo as a sexual predator is made prevalent. And the line “and with an outstretched throat i will tell the world what man thou art, Angelo” being present that strong feminist reading IS ALWAYS THERE. (DID I MENTION I LOVE ISABELLA FLAWS AND ALL). The idea that Isabellas voice is the most crucial device in the play is FLOORING.  

The Duke being a nearly godly figure who knows all and manipulates all, Angelo as his emissary becomes like an angel in the process of self corruption, from the inhumane ice he is so dubbed to warmed by the sins he so condemns. And Isabella defending the thing she so hates because it is her brother who commits the sin is the defense of someone who does not truly believe her brother is just. Mercy as justice. To wield power and to use it for mercy is so profound, and she is the only one who carries her ethos through like this to the end ofthe play. I’m not a theologist but so far this is the reading of theologists into the matter.

The version I saw in person he practically throws himself at her feet and it becomes an interplay of the psychosexual and moral. His knees buckle under her touch, it becomes the interaction of repressed sexuality channeled into both law and religion. In the Stratford production Isabella wipes her brow with water out of disgust or heat, no one is sure. it’s left ambivalent. In the one I saw Angelo was made almost comedic and sympathetic, which made ISabellas mercy still feel like an axe coming down upon his head. 

And then characters like Barnadine just using comedy, the genre of the gods as the greeks called it, to dimish law, to put it to shame. To put the godly/playwright Duke in his place.

The folkloric bed switch (which is folklore yes but Im not totally comfortable calling it consensual even tho Angelo is a sexual predator you can bring modern sensibilities to the reading), is indicative of oral traditions that predate shakespeare. The idea that every character must do in this play the thing they most loathe to do.

Claudio fears death so he must die, Isabella must have sex to save a life when she has sworn herself to chastity. Then they both sort of hurt each other, Claudio by asking her to yield herself up to this non consensual sexual coercion of upmost grossness, and isabella by telling him to be happy he will die because there is nothing so painful as being alive (ISABELLA HES AN EXPECTING FATHER). He asks her to do the thing she loathes most in a fit of desperation because the man who loves life must die. And Isabella the woman who “would wear these keen whips as rubies” would have have done anything but sex, tells her brother that living isnt worth it. ITS INTENSE. LIKE WOW.

It’s absolutely no surprise that Isabella and Angelo are my favourite characters in the play. This awful sexual coercion (the degree of violence is dependant on staging which is like holy shit WTF), lives side by side with the fact that they are the two only people whose language, diction, beats, and intelligence matches each other. They both have the same fervor for their moral divisions and hierarchies. The idea of strict testing of morals and faith is in the text. Isabella wishes for harsher, more challenging, and harrowing tests of faith. You can argue as to why, I personally think its for the strengthening of faith and connection to the divine. Meanwhile Angelo is the one setting restrictions for hundreds of thousands of vienna, setting those on other people to strengthen the connection to a higher moral fibre, and I think in some respects faith as well but thats my interpretation. 

Where others live their vices without restrictions, these two set limits for either themselves and/or others to be something more. They are in the way that motif of the “glass” The mirror. In that sense they reflect each other, but they also become each others foil. Which is why I do think a case can be made for the parallels with the psycho sexual and the SadoMasochist readings. Restraints for rewards, the repression on both their parts is there.

I’m not saying that negates the strong feminist reading or in anyway shape or form validates the absolute horror of the coerced sex/rape. I just say that they exist side by side with each other. They are equals in text/language/fervour AND YET they are not because he holds every power over her and her brother. He wants to restrict others where he cannot restrict himself, and Isabella restricts herself in part because she lives in a Vienna full of vice. She has a control over her own self that he proves not to have. And HE has a control over the world of the play that she cant. 

AND YET. SHE IS MARRIED TO THE DUKE. SHE MARRIES INTO PROMINENCE. I don’t love the idea that she does not become a nun, her original want, and is instead coopted by the shitty duke (i am not pro duke sorry). The only upside at the end of the play is that Isabella can, in some measure, have political sway over the masses. Meanwhile Angelos fall and forgiveness put him into a marriage where his vice of coercive sex becomes consummation of a sleeping marriage. IT FEELS LIKE they sort of mirror each other the whole way through the play. ITS WEIRD BECAUSE THERE IS SO MUCH SEXUAL AND POLITICAL INEQUALITY TO THEM. ITs a play full of contradictions which I LOVE BECAUSE IT IS NOT SIMPLE NOT BECAUSE IT IS RIGHT. I do think there is a case to be made that Isabella unwillingly comes face to face with sexuality, his and hers, and its not on terms she wants, but it happens. And you see her struggling to maintain the authority over her own autonomy. But then she has to contemplate sex for herself, “to give up her boy into saucy sweetness, licentiousness, the filthy vices”. What does ISabella do when she comes face to face with her own sexual needs, whatever she may be? We have productions in the Stratford archives from 50 years ago that make an ambiguous case that the meeting of morality and sex might actually do something for her? I DON’T KNOW. The readings keep coming. There is a possiblity for a strong Ace reading for her which no one really touches on. 

ON A LIGHTER NOTE

This play has my favourite sexual innuendo. When theyre like “WHAT DID CLAUDIO DO?”

“Her?”

“no! What did he do to get taken away by the provost”

“HIS GIRLFRIEND.” 

(god and isnt it nuts that the first man on the scaffold for unlawful fornication IS IN A CONSENSUAL LOVING RELATIONSHIP WITH HIS GIRLFRIEND, A BOND AND CRIME THAT THE LAW (ANGELO) HAVE DEEMED IMMORAL. YET THE LAW (ANGELO) WOULD HAVE IT PARDONNED BY A NON CONSENSUAL SEX FOR EXECUTION PARDON. THE MASK OF MORALITY OF ANGELO. JFC HES SO FUCKED, like hes AWFUL, because he ends up sending claudio to death after he thinks hes had sex with isabella. LIKE WHAT A PIECE OF SHIT ND YET STILL WEARS THE LAW AS HIS MASK AFTER THE ANGEL HAS FALLEN. ITS COMPLEX AND I LOVE IT)

God and just…the sex jokes, the black comedy of barnadine right next to the high shooting morals of angelo, isabella, and mariana (another complex af character. The 1976 version certainly makes a psychosexual explanation out of that, which im not sure i enjoy. Again the psychosexual has its limits in a play about sexual coercion and rape)

AND THE FACT THAT MERCY IS WHAT SETS YOU FREE, LIKE PROSPERO FORGIVING HIS ENEMIES, ISABELLA FORGIVING ANGELO IS A HERCULEAN FEAT, IT FEELS CLOSE TO GODLINESS IDK MAN. AND I UNDERSTAND WHY SHE TELLS HER BROTHER NO I WONT SLEEP WITH HIM FOR YOUR LIFE BECAUSE ITS RAPE, BUT THEN IS LIKE BE GLAD BEING ALIVE IS SHITTY ANYWAYS. Im like? ISABELLA? WHAT?! ISabella does not know about herself that she can be desired because GOD DOES IT TAKE HER A WHILE TO UNDERSTAND ANGELOS MEANING, and yet shes got such a force for words. I find it hard to think being married to the duke that she wont have some power. 

And the exchange of Angelo and Isabella in the second interview.

-His moral stance on unlawful fornication starts with abortive language, the harsh restrictions but DEVOLVES INTO THE SEXUAL WITH THE INTELLECTUAL DICTION, It becomes a mirror of himself until he is explicit of what he wants from her. (OH GOD TRULY HE GIVES ME NAUSEOUS AND YET THE ONE IN THE PLAY I SAW HE WAS ENTHRALLING I HATE THE RANGE OF THINGS ANGELO CAN MAKE ME FEEL). His mask of morality is slowly removed

-ISABELLA must argue on behalf of her brother, believing in restrictions of the kid angelo speaks of, they believe in restraining oneself to achieve a higher form of being, and yet has to straight up defend something she hates because she loves her brother. And ANGELO CAN SEE IT. I WISH THERE WAS AN AFTERMATH WHERE WE SEE HER USING HER INTELLECT AND WORDS FOR HER ENDS. 

I truly think the second interview scene is one of the best exchanges Billy Shakes wrote. Because it ENDS LIKE THAT. GOD the david tennant one is chilling, the oregon shakespeare festival one is fucked. The 1976 which is the most psychosexual was so intensely disturbing that the Angelo got applause for it. IDK What that means and im too scared to ask. Idk how the RSC managed because youtbe doesnt show me that. The Repurcussion theatre was the most varied array of contradictions for angelo instead of just corrupt judge. It literally is all the shakespeare villains that do the most heinous things that Im like THATS MY FAVE. Iago was just RACISM/Sociopath and fifteen year old me was like YES HIM. I mean Richard III is bad but hes fun. ANGELO AT THE BEST IS A SEXUAL PREDATOR AND YET IM STILL LIKE WOW HOW COMPLEX ALSO THE ACTOR WAS SO GOOD LOOKING AND PLAYING UP THE BDSM BOTTOM ANGLE I WAS GONE. 

And the Isabellas go from wilting lily, to some sort of quiet and reserved girl, and the one i saw was literally “she is tiny but fierce” like her voice was really forceful and i thought it was amazing. 

THIS PLAY IS FUCKED WHEN IT COMES TO THESE READINGS LIVING SIDE BY SIDE BUT BOY IS THIS INTERESTING. 

if you made it this far wow holy shit. thanks for coming to my ted talk.

[itscolossal]

Surreal murals by São Paulo-based artist Claudio Ethos

[barbarapicci]

Streetart by Claudio Ethos @ Sao Paulo, Brazil More pics at: https://barbarapicci.com/2023/04/18/streetart-claudio-ethos-sao-paulo-brazil-2/

[nedsecondline]

Streetart – Claudio Ethos @ Biel, Switzerland

Location: Biel, Switzerland Artist: Claudio Ethos (Brazil) Year: 2023 Photo Credits: Claudio Ethos USEFUL LINKS: Claudio Ethos in this blog | Website…Streetart – Claudio Ethos @ Biel, Switzerland

[jackiehadel1]

LOS ANGELES, CALIFORNIA STREET ART: DECOLONIZE & CHILL

LOS ANGELES, CALIFORNIA STREET ART: DECOLONIZE & CHILL

Tristan Eaton. DTLA. Arts District. At The Container Yard. https://www.instagram.com/tristaneaton/

JR. “JR is a pseudonymous photographer and graffiti artist. He is best known for fly- papering photocopies of his art onto the streets.” https://www.instagram.com/jr/

“WRDSMTH. WRDSMTH is a Los Angeles-based street artist of unverified identity known for his iconic image of a vintage typewriter…

[blogdojuanesteves]

História da Fotografia autoral e a pintura moderna > CLAUDIO EDINGER

> História da fotografia autoral e a pintura moderna (Ipsis, 2019) como o nome diz, trata do mais antigo dos diálogos entre esse meio mecânico imagético e suas afinidades com sua predecessora, a pintura. Seu autor, o carioca Claudio Edinger, veio pensando a ideia desde 1996, quando voltando ao Brasil, depois de uma longa temporada nos Estados Unidos, começou a dar workshops em festivais e aulas em centro culturais. Em 2009 começou a pautar suas questões nas redes sociais iniciando assim o conjunto ora publicado.

Para Edinger, não existe uma história da fotografia e sim interpretações, diz ele na sua apresentação. “Para se aprofundar de fato na nossa história, seriam necessários dezenas de volumes. “ O que corrobora a ideia de que  toda compilação é um ato arbritário de quem a edita, sendo uma visão particular e nunca abrangente na totalidade, o que de fato seria impossível de ser realizado. Entretanto, é fruto do vocabulário vasto e eclético de seu autor, cuja trajetória é avalizada também pelo próprio trabalho como fotógrafo. Portanto, por este conhecimento, ele inclui autores e por consequência exclui outros.

> Independentemente da escolha de seus verbetes, meio pelo qual a publicação é estruturada,  o livro traz um trabalho de fôlego em suas quase 400 páginas, uma pesquisa razoável, ainda que seletiva e exclusivista, que procura mapear a estrutura fotográfica desde seus primórdios e suas relações intrínsecas com a arte, seja no relacionamento dos pintores diretamente com o meio ou por eles se utilizarem deste como base. Estes verbetes, como escreve no prefácio o curador mineiro Agnaldo Farias, são concatenados por uma lógica temporal não se ressentindo da dureza  dos textos de extração científica.

A isto que Farias anota, soma-se o fato de que o país também se ressente de publicações do gênero, se não dizer raríssimas. Em sua grande maioria, as compilações de artistas plásticos ou fotógrafos se dão como publicações pagas por aqueles que formam seu conteúdo, por isso não representam exatamente um conceito curatorial exigente e sim um amontoado de nomes díspares, representados pelos inúmeros "art books" que pululam das benesses das leis de renúncia fiscal.

> Entre as poucas há de se ressaltar A História da Fotografia no Brasil, um olhar das origens ao contemporâneo (Funarte,2004) da carioca Ângela Magalhães e da niteroiense Nadja Fonseca Peregrino, que embora não tenha a amplitude internacional é uma obra que procurou mapear a produção brasileira desde os primórdios. Também lembramos de Imagens da Fotografia brasileira, vol.1 ( Estação Liberdade, 1997) e Imagens da Fotografia brasileira vol.2 ( 2000) ambos produzidos pela jornalista e crítica romana Simonetta Persichetti que totalizam apenas 36 fotógrafos, entrevistados e com um pequeno portfólio.

Outros volumes como Fotografia da arte brasileira séc.XXI ( Cobogó, 2013) e Outras fotografias na arte brasileira séc. XXI  ( Cobogó, 2015) organizados pela parisiense Isabel Diegues, fundadora da editora, trazem mais de 70 autores. Sendo assim, História da Fotografia autoral e a pintura moderna, se reveste de certo ineditismo ao incluir em seus verbetes autores internacionais e brasileiros ou que atuaram no Brasil, lado a lado.

> Claudio Edinger é autor de respeito com cerca de 18 fotolivros publicados, muitos deles premiados internacionalmente, também publicou um romance, Um swami no Rio (E Editora, 2009) e com uma inserção consagrada no mercado de arte brasileiro, portanto intimamente ligado as diferentes manifestações artísticas que balizam a publicação. Segundo ele, traz uma visão do discurso aristotélico, embasada  no Ethos, a questão da ética, do caráter, ou seja, sabendo quem é o autor podemos mudar nossa opinião diante da obra. O Logos, a lógica da imagem, composição, a captura do instante em particular, sua iluminação e o Páthos, o apelo emocional, e finalmente adiciona aos 3 a Novitás, a tal originalidade. No entanto, diz ele, para ser original é preciso saber quem veio antes.

Os fotógrafos foram escolhidos por serem autorais, aqueles que influenciaram e foram influenciados pelas artes plásticas, ou seja "os fotógrafos e pintores a partir da idade moderna que revolucionaram a arte praticada hoje. Fotógrafos cujas criações espelham de uma forma particular quem são." Mais incisivo, ele afirma que cada escolha representa sua preferência pessoal,  usando como critério a originalidade de cada trabalho, acreditando que isso possa ser um ponto de partida para se criar referências.

Ainda que tratemos com a parcialidade e o entendimento pessoal do autor, Edinger nos verbetes internacionais se mantém no mainstream da fotografia, ou seja autores que dificilmente podem ser contestados pela sua contribuição ao meio, o mesmo vale para os pintores como o inglês WIlliam Turner (1775-1851) ou o francês Eugene Delacroix ( 1798-1863). Em relação a este último, o autor faz a ligação com o fotógrafo Eugène Durieu ( 1800-1874) que largou a pintura para fotografar, passando a colaborar com o amigo produzindo imagens de base para as suas famosas pinturas de odaliscas dos anos 1850.

> Igualmente importante é a presença do sueco Oscar Gustave Rejlander (1813-1875) pioneiro nas fotomontagens, autor de Two ways of life, de 1857 que traz 32 imagens em sua fusão, algumas décadas antes da famosa e bem humorada montagem "Os 30 Valerios", de 1901, do fluminense Valério Vieira (1862-1941) que também ganhou seu verbete. O fotógrafo também foi uma importante influência na obra da inglesa Julia Margaret Cameron (1815-1879), uma mulher a frente de seu tempo, celebrada por seus portraits de grandes personalidades que com ela conviveram.

Da mesma forma que Delacroix vemos o pintor inglês Dante Gabriel Rosseti (1828-1882) utilizar a fotografia do irlandês John Robert Parsons (1826-1909) como referência para o sua pintura retrato de Jane Morris, de 1865. Embora nos verbetes nacionais, que são cerca de 60 autores, não constem muitos fotojornalistas, por motivos óbvios, os nomes de dois precursores do meio como o americano Mathew Brady ( 1822-1896) e o escocês Alexander Gardner (1821-1882) estão registrados, como na maioria das compilações internacionais.

> Avançando no tempo, a menção ao genial russo  Kazimir Malevich ( 1879-1935) que pesquisava os planos de visão fora dos paradigmas da pintura, se aproximam de nomes que figuram no panteão como o luxemburguês Edward Steichen (1879-1973) fotógrafo e um dos primeiros curadores de fotografia do Museum of Modern Art (MoMA) de Nova York, bem como conexões do malaguenho Pablo Picasso ( 1881-1973) com imagens africanas que o teriam inspirado a criar a sua tela, epítome do cubismo, Les Demoiselles de Avignon (1907).

Edward Hopper( 1882-1966) pintor americano ícone da vida moderna americana se conecta com seus conterr��neos mais contemporâneos Philip-Lorca DiCorcia e Greg Crewdson. Ou a  importância do casal alemão Becher, Bernd (1931-2007) e Hilla (1934-2015) na participação da chamada Escola de Düsseldorff, de onde saíram os alemães Candida Höfer , Andreas Gursky, Thomas Struth e Thomas Ruff, estrelas da atual arte fotográfica de patamares de 7 dígitos, que se somam os grandes naturalistas como o americano Richard Misrach, cujas belas paisagens (apesar de serem críticas ecológicas) se aproximam do paulista Caio Reisewitz em sua grandiosidade romântica.

> O francês Henri Cartier-Bresson (1908- 2004) certamente continua sendo uma unanimidade contemporânea ( não burra) e talvez figure com o maior número de páginas, 4 dedicadas a sua obra refinada e essencial. Em contrapartida, fotógrafos de gosto mais popular como as americanas Annie Leibovitz, Vivian Maier (1926-2009) e Francesca Woodman (1958-1981) e os brasileiros Sebastião Salgado, Vik Muniz, Araquém Alcântara e  Gabriel Wickbold,  também ganhem seu espaço.

Longe da popularidade da maioria, Edinger também ressalta a obra de autores fundamentais como os japoneses, Hiroshi Sugimoto, Eikoh Hosoe e Shomei Tomatsu, os tchecos Josef Koudelka e Jan Saudek, os africanos Okhai Ojeikere ( 1930-2014) e Malik Sadibé ( 1936-2016), os geniais fotógrafos que mudaram a paisagem da América, como os americanos Garry Winogrand (1928-1984), Lee Friedlander e William Eggleston mas deixa de fora (SIC) o suíço Robert Frank, bem como os importantíssimos modernos brasileiros como Geraldo de Barros (1923-1998), José Oticica Filho (1906-1964) e o húngaro Thomaz Farkas (1924-2011) mas não inclui (SIC) o celebrado paulista German Lorca.

> Longe de abarcar a totalidade brasileira, como o próprio autor se manifesta, ele assume uma atitude mais democrática, ao reunir fotógrafos como os cariocas Claudia Jaguaribe e Rogério Reis, os paraenses Rogério Assis e Luiz Braga, o  mineiros Pedro David e Eustáquio Neves, os paulistas Cristiano Mascaro e Penna Prearo, os baianos Walter Firmo e Mario Cravo Neto (1947-2009), entre tantos outros integrantes de grandes acervos como a coleção MASP-Pirelli, o acervo do Museu de Arte Contemporênea da USP (MAC-USP) ou do Museu de Arte Moderna (MAM), com fotógrafos em ascensão como as paulistas Betina Samaia, Sheila Oliveira e Tina Gomes entre outros.

O compêndio produzido por Claudio Edinger não privilegia somente pintores e fotógrafos mas traz verbetes de badalados pensadores próximos a fotografia como o alemão Walter Benjamin (1892- 1940), o tcheco Vilém Flusser (1920-1991) e a americana Susan Sontag (1933-2004). Mais distantes dos estudantes da imagem, estão o escritor paulista Mario de Andrade (1893-1945), pioneiro da fotografia modernista brasileira, o romancista tcheco Franz Kafka (1883-1924) que dizia que "nada engana tanto como uma fotografia" entre outras frases garimpadas pelo autor, e o filósofo austríaco Ludwig Wittegestein (1889-1951) que não escreveu nada sobre o meio mas, segundo o catarinense Guilherme Ghisoni, professor de filosofia e fotógrafo, um dos autores no livro, era um praticante da "fotografia Galtoniana" (desenvolvida pelo antropólogo e metereologista inglês Francis Galton (1822-1911) que além de inventar o mais que controverso conceito de eugenia, desenvolveu o método de sobreposição de vários retratos sobre a mesma imagem, tendo em vista mostrar traços comuns).

> São mais 600 ilustrações, cerca de 350 fotógrafos e pintores, que também incluem movimentos ou escolas cadastrados no índice remissivo, destes pouco mais de 60 são autores brasileiros ou atuantes no Brasil. Certamente ainda que em sua incompletude intrínseca, pois certamente o leitor mais afinado com a nossa produção sentirá falta de nomes importantes, é um livro de referência com suas informações factuais, explicações sumárias e objetivas, notas biográficas, como diz Agnaldo Farias, "com insights luminosos sobre a correspondência entre pintura moderna e fotografia..."

> O Lançamento do livro acontece dia 23 de fevereiro, a partir das 11hs, na Galeria Lume, rua Gumercindo Saraiva, 54, Jardim Europa em São Paulo. O livro ja está a venda pela Ipsis, através do email pub@ipsis.com.br  vem autografado pelo autor e pode ser enviado para todo o país.

*Leia mais sobre Claudio Edinger aqui neste blog em  livro Machina Mundi as engrenagens do tempo  ( Ed.Bazar do tempo, 2017) http://blogdojuanesteves.tumblr.com/post/168050972936/machina-mundi-claudio-edinger  ou O paradoxo do olhar ( Ed.Madalena/Ed.Terceiro Nome, 2015) em http://blogdojuanesteves.tumblr.com/post/116467019731/o-paradoxo-do-olhar-claudio-edinger

Imagens © autores  Texto © Juan Esteves