{"id":45692,"date":"2014-01-22T17:32:09","date_gmt":"2014-01-22T19:32:09","guid":{"rendered":"https:\/\/revistazum.com.br\/revista-zum-5\/between-heaven-and-hell\/"},"modified":"2022-06-01T17:17:59","modified_gmt":"2022-06-01T20:17:59","slug":"between-heaven-and-hell","status":"publish","type":"post","link":"https:\/\/revistazum.com.br\/en\/zum-magazine-5\/between-heaven-and-hell\/","title":{"rendered":"Between Heaven and Hell"},"content":{"rendered":"
An eternal adventurer, the Spanish photographer ALBERTO GARC\u00cdA-ALIX, who recorded the rebellious years of la movida madrile\u00f1a<\/em>, presents his new road companions<\/h5>\n

Motorcycles arrived before photography in Alberto Garc\u00eda-Alix\u2019s life. He was 12 years old, not a sign of his trademark side-whiskers yet to be seen, when his parents gave him a yellow Ducati. The engine was pretty feeble but those 50ccs seem to have had a more powerful impact on the future photographer\u2019s eye than other elements of his life: the powerful women, the tattoos, the heroin, the rock\u2019n\u2019roll or the Cuba Libres mixed with Negrita rum.<\/p>\n

\"542FABRICA-<\/a>

Self-Portrait with Denim Vest, 1989<\/p><\/div>\n

\u201cOn a cycle the frame is gone,\u201d wrote the American Robert M. Pirsig in his book Zen and the Art of Motorcycle Maintenance <\/em>(1974). The motocyclist is in <\/em>the scene, not just watching it. Life on two wheels: the real and constant possibility of a fall; overcoming the powerful blast in your face; the tarmac flowing fast under your feet; unexpected curves. That\u2019s how it is on the road when you\u2019re astride a motorcycle, and that\u2019s what Garc\u00eda-Alix\u2019s photographs are like.<\/p>\n

His story starts in 1956 in his birthplace, Le\u00f3n \u2013 338 km northwest of the Spanish capital. His father (appropriately an ophthalmologist) moved to Madrid with his family in the 1960s. Photography began by chance, Garc\u00eda-Alix repeats whenever he can, frequently saying how he is self-taught. In 1975, a camera \u201cfell into his hands\u201d \u2013 as he says \u2013 the same year that a new political horizon \u201cfell into Spanish hands,\u201d with the death of Generalissimo Franco.<\/p>\n

That moment was rapidly followed by the opening of the cultural floodgates: the movida madrile<\/em>\u00f1<\/em>a <\/em>(Madrid Movement), that moment of bohemian and cultural effervescence that swept over the Spanish capital in the late 1970s and early 1980s. Garc\u00eda-Alix surfed on the wave of this trend along with many others, such as the film director Pedro Almod\u00f3var, the punk-rock singer Alaska, the painter\/musician\/ does everything Fabio McNamara and the illustrator Ceesepe, who joined the photographer in the Cascorro Factory collective.<\/p>\n

Garc\u00eda-Alix had a motorbike, a camera \u2013 and not a lot more. He rode the city from one bar to another, from one party to the next, until he woke up on a sofa somewhere. When he managed to put some pesetas in his pockets, he bought some rolls of 35mm film. And so, from time to time, the clothes line in his house sported portraits of strange faces, drying alongside underpants and socks.<\/p>\n

\"542FABRICA-<\/a>

Teddy Boy, 1988<\/p><\/div>\n

\"542FABRICA-<\/a><\/p>\n

Montserrat, 2005<\/p>\n

It is strange, but at the same time perhaps not, to imagine these photographs in such an environment. 57 year-old Garc\u00eda-Alix is nowadays one of Spain\u2019s most celebrated photographers, an artist of European dimensions. His images are at home as much in a scullery as they are in the Reina Sofia Museum, that great Spanish temple to contemporary art, which put on a retrospective of his work in 2008 with more than 250 photos.<\/p>\n

The name of the exhibition, De donde no se vuelve <\/em>[from where there is no return], is the title of one of Garc\u00eda-Alix\u2019s most introspective works, which was published in a collective work of almost 300 pages entitled Morreremos mirando <\/em>[we will die looking], in 2008. Written as an essay with some poetic touches and afterwards reconceived as a film script (Garc\u00eda-Alix becoming fascinated by film), the text speaks in various semantic levels of the experience of losing oneself. It speaks as much of the experience of becoming involved in a new land \u2013 as he did when he systematically photographed what was to him the unknown life of the villages of China at the end of the last decade \u2013 as of the concrete, irreversible losses in life.<\/p>\n

\"542FABRICA-<\/a>

La China, 2007<\/p><\/div>\n

\u201cNight and day, we feed a demon through our veins. Years when the pupils of our eyes demonstrate the emptiness of our smiles, with our heart in our mouths. We anaesthetise both love and pain,\u201d he wrote of his long, intense and difficult experience with heroin. \u201cHeaven was found five or six blocks away from Madrid,\u201d he notes, without mentioning the distance to hell. Willy, his brother, was the first in the group to die of an overdose, aged 25. Many others followed the same path to an \u201cimmense cemetery,\u201d including his companion Teresa \u2013 Tere.<\/p>\n

\"Layala.<\/a>

Layala, 2012<\/p><\/div>\n

People, places, situations, passions passed by and moved on, with no return. But Garc\u00eda-Alix had a camera and what he calls the \u201cwill to meet.\u201d \u201cA portrait is an encounter between human beings which bears the happiness and the pain of being transient,\u201d he said when receiving the important Spanish National Photography Prize in 1999. \u201cThis encounter is memory. Once the shutter is clicked, the subject is a prisoner in the image. It\u2019s already not the present, it\u2019s the past. We\u2019re already not who we are, we\u2019re who we were.\u201d<\/p>\n

And the portraits are not in scarce supply. Over four decades of clicking, Garc\u00eda-Alix has taken more than 100,000 photographs, always using fi lm (\u201cdigital is too false, beauty is in the imperfections\u201d). It is an almost infinite universe of solitary figures, most of them in black and white: transexuals, tatooed people of all sorts (\u201cto enter heaven, thou must be tatooed\u201d), people with squints, porno actresses carefully displaying their attractions with a gynaecologist\u2019s dexterity, injured men, one with a bruised eye (\u201che was hit on New Year\u2019s Eve,\u201d says the caption). Colour is rarely used, and there are only a handful (and that hand is well supplied with skull rings) of smiles to be seen. Garc\u00eda-Alix\u2019s personality is exceptionally pensive, his gaze sinking into the highway of the soul. And, above all, this focus applies to one of his most constant models, himself.<\/p>\n

\"Autorretrato<\/a>

Self-Portrait in the Sunlight, 2010<\/p><\/div>\n

Garc\u00eda-Alix has photographed himself as a young man in Italy in 1986, flanked by two voluptuous and Fellini-like prostitutes; naked and displaying his tatoos at the edge of a swimming pool in 1991; with disheveled hair and wearing a black dress in 2002. Over the last few years, these self-portraits, or \u201cx-rays\u201d as he calls them, have become more frequent, to the extent that they were the exclusive theme of an exhibition at the La Virreina palace in Barcelona during the first half of 2013.<\/p>\n

In an interview for the Catalan newspaper La Vanguardia<\/em>, he said \u201cI have developed a lot because I have learnt to hear my interior voice, and as the years have passed I have become more precise and concise.\u201d But the years have turned him more taciturn too, adds a frequent observer of his work: \u201cIt can\u2019t be said that Garc\u00eda-Alix has got older, but we can see that his desire to live has deepened and his gaze has become more melancholic,\u201d wrote the Spanish critic Francisco Calvo Serraller. In an essay with the title \u201cShots in the Dark\u201d, Serraller draws our attention to some of the \u201cself-portraits\u201d where all that can be seen are his shoes, or the pointed-toe black boots worn by motorcyclists. \u201cThe shoes we wear not only demonstrate one\u2019s taste, but also show the way we move through life, a way of life and, finally, the way we are,\u201d writes Serraller. The critic sees in these objects a clear sign of the street poet, the wanderer, the globe-trotter \u2013 a contemporary version of what Baudelaire called \u201cthe painter of modern life\u201d 150 years ago.<\/p>\n

But those who think that this \u201ceasy rider\u201d is only an artist capable of improvising, of sketching, of the moment that presents itself, deceive themselves. Many of the portraits are carefully planned, with an eye for detail which is not at all random or accidental.<\/p>\n

\u201cIt\u2019s not easy posing for Alberto,\u201d says Ana Curra, singer in the Spanish afterpunk group Par\u00e1lisis Permanente and one of the many muses to this man who loves women. \u201cHe\u2019s really meticulous in his composition and can drive you mad trying out different positions for your hands until he gets exactly the pose he wants.\u201d<\/p>\n

\"A<\/a>

The Dominatrix, 1997<\/p><\/div>\n

But we also need to hear Ray Loriga, writer, film director, and Garc\u00eda-Alix\u2019s friend (and occasional enemy): \u201cAlberto is the result of an impossible combination of madness and strategy. On one hand, he is a restless hunter. On the other, a surgeon with diabolic precision, capable of ripping the heart out of someone without leaving a mark on their skin. He\u2019s a master of both noise and silence.\u201d<\/p>\n

Garc\u00eda-Alix himself wouldn\u2019t disagree with any of this. \u201cWhen I give lessons in photography, the first thing I attempt to teach the student is to get rid of everything that is extra. As for what is missing… Ah, that is a difficult topic,\u201d he writes. \u201cA photograph should always have an air of mystery about it. The mystery of life, of the next bend ahead.\u201d \/\/\/<\/p>\n

\"El<\/a>

Purgatory II, 2008<\/p><\/div>\n

 <\/p>\n

Alberto Garc\u00eda-Alix (1956) <\/strong>was born in Le\u00f3n, Spain. He moved with his family to Madrid in 1967 where, in the late 1970s, he began to photograph, recording the frentic times of the movida madrile\u00f1a<\/em>. He received the Spanish National Photography Prize in 1999.<\/p>\n

Cassiano Elek Machado<\/strong> is a contributing reporter with Folha de S.Paulo<\/em> and curates the debates for the International Photography Festival Paraty em Foco.<\/p>\n

\/\/\/<\/p>\n

Get to know<\/a> ZUM\u2019s issues | See<\/a> other highlights from ZUM #5 | Buy<\/a> this issue<\/p>\n","protected":false},"excerpt":{"rendered":"

An eternal adventurer, the Spanish photographer ALBERTO GARC\u00cdA-ALIX, who recorded the rebellious years of la movida madrile\u00f1a, presents his new road companions Motorcycles arrived before photography in Alberto Garc\u00eda-Alix\u2019s life. He was 12 years old, not a sign of his trademark side-whiskers yet to be seen, when his parents gave him a yellow Ducati. The […]<\/p>\n","protected":false},"author":13,"featured_media":34445,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1619],"tags":[],"coauthors":[2251,1816,2250],"class_list":["post-45692","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-zum-magazine-5"],"acf":[],"yoast_head":"\nBetween Heaven and Hell - ZUM<\/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:\/\/revistazum.com.br\/en\/zum-magazine-5\/between-heaven-and-hell\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Between Heaven and Hell - ZUM\" \/>\n<meta property=\"og:description\" content=\"An eternal adventurer, the Spanish photographer ALBERTO GARC\u00cdA-ALIX, who recorded the rebellious years of la movida madrile\u00f1a, presents his new road companions Motorcycles arrived before photography in Alberto Garc\u00eda-Alix\u2019s life. 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