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Diptychon | C-print photography, diasec on alu-dibond | 150 x 500 cm<\/p>\n
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In his photographic work, Dionisio Gonz\u00e1lez takes the beholder to utopian spaces. In so doing, he acts as a field researcher or a critical documentarian who reveals the hidden. His interest is focused on the architecture used by the poor and excluded to appropriate previously unseen spaces. The study of these cultural technologies is accompanied by the question of how social asymmetry is perceived. [\/et_pb_text][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]<\/p>\n Dionisio Gonz\u00e1lez (*1965 Gij\u00f3n, Spain) lives and works in Seville, Spain.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.19.4″ _module_preset=”default” custom_padding=”2px|||||” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ _module_preset=”default” custom_padding=”5px|||||” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”rgba(0,0,0,0.5)” _builder_version=”4.16″ _module_preset=”default” custom_margin=”||0px|||” custom_padding=”1px||1px|||” global_colors_info=”{}”][\/et_pb_divider][et_pb_post_nav in_same_term=”on” _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_post_nav][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Dionisio Gonz\u00e1lez Halong VI, 2009 Diptychon | C-print photography, diasec on alu-dibond | 150 x 500 cmIn his photographic work, Dionisio Gonz\u00e1lez takes the beholder to utopian spaces. In so doing, he acts as a field researcher or a critical documentarian who reveals the hidden. His interest is focused on the architecture used by the […]<\/p>\n","protected":false},"author":1,"featured_media":3200,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"project_category":[82,83],"project_tag":[],"class_list":["post-5038","project","type-project","status-publish","has-post-thumbnail","hentry","project_category-all-artists","project_category-artists-2023"],"acf":[],"_links":{"self":[{"href":"https:\/\/zur-nachahmung-empfohlen.de\/en\/wp-json\/wp\/v2\/project\/5038","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/zur-nachahmung-empfohlen.de\/en\/wp-json\/wp\/v2\/project"}],"about":[{"href":"https:\/\/zur-nachahmung-empfohlen.de\/en\/wp-json\/wp\/v2\/types\/project"}],"author":[{"embeddable":true,"href":"https:\/\/zur-nachahmung-empfohlen.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/zur-nachahmung-empfohlen.de\/en\/wp-json\/wp\/v2\/comments?post=5038"}],"version-history":[{"count":6,"href":"https:\/\/zur-nachahmung-empfohlen.de\/en\/wp-json\/wp\/v2\/project\/5038\/revisions"}],"predecessor-version":[{"id":9054,"href":"https:\/\/zur-nachahmung-empfohlen.de\/en\/wp-json\/wp\/v2\/project\/5038\/revisions\/9054"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/zur-nachahmung-empfohlen.de\/en\/wp-json\/wp\/v2\/media\/3200"}],"wp:attachment":[{"href":"https:\/\/zur-nachahmung-empfohlen.de\/en\/wp-json\/wp\/v2\/media?parent=5038"}],"wp:term":[{"taxonomy":"project_category","embeddable":true,"href":"https:\/\/zur-nachahmung-empfohlen.de\/en\/wp-json\/wp\/v2\/project_category?post=5038"},{"taxonomy":"project_tag","embeddable":true,"href":"https:\/\/zur-nachahmung-empfohlen.de\/en\/wp-json\/wp\/v2\/project_tag?post=5038"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Usually, shantytowns, slums, or favelas are located in the peripheries. It is only in exceptional cases are they subjected to the exotic gaze of the ethnographer or the tourist. This is true for example of the shantytowns in Halong Bay, which were declared world cultural heritage site by UNESCO in 1994, or favelas such as Nueva Heli\u00f3polis in the vibrant metropolis of S\u00e3o<\/span> Paulo. For Gonz\u00e1lez, the visibility of these slums contains the paradoxical danger of invisibility. Here, he has in mind Foucault\u2019s dictum that power tolerates no shadows: power creates transparency so that individuals are seen directly as an anonymous collective. In this sense, the limited perception of the tourist suppresses all difference. Instead of seeking out an engagement with the local population, the gaze of the tourist levels everything, all difference is pacified in order to not disturb the sense of well being promised by the holiday package. One of Gonz\u00e1lez\u2019 \u00bbcase studies\u00ab is Halong Bay in the northern vietnamese province of Quang Ninh, close to the Chinese border 170 kilometers east of Hanoi on the Gulf of Tonkin. In this landscape of breathtaking beauty, on the water, among islands and cliffs, a huge slum has emerged. Gonz\u00e1lez takes photographs of these shantytowns with a surprising richness of detail.
Disturbingly beautiful images emerge, that use light in the style of the Old Masters. By using a targeted manipulation of the images, Gonz\u00e1lez rids the images of all trace of suffering. In so doing, the impression of hygienic, solid constructions emerges. And all the same, the architecture of the slums can be recognized in its formal diversity and the failure to separate the private and the public. With his digitally manipulated images, Gonz\u00e1lez pays homage to the cultural techniques and life forms that emerge under adverse conditions. In that Gonz\u00e1lez explores other, possible city spaces, he creates with his art possibilities of personal intervention. In so doing, the artist is pursuing the utopia that he understands as a necessity in the sense of Marc Aug\u00e9.<\/p>\nBiography<\/h2>\n