Mimeógrafo #13

  • Diego Kuffer
  • 2014
  • Inv. No. 70.15.04
  • Edition 30 + 2 AP
  • Categories: Astratto, Movimento
Size M
40x60cm Dimensions
Digital Print on Fuji paper DP II Technique
Unframed Mounting
 
53x80cm Dimensions
Digital Print on Fuji paper DP II Technique
Unframed Mounting
 
40x60cm Dimensions
Digital Print on Fuji paper DP II Technique
Mounted under plexiglass Mounting
 
53x80cm Dimensions
Digital Print on Fuji paper DP II Technique
Mounted under plexiglass Mounting
 

The image stages a paradox: the subject of the photograph is the repetition of various enlargements of the Kodak 400TX film, one of the most widely sold worldwide. This immediately alludes to an analogical past in which photographic manipulation was completely different from the digital processing represented in the photograph. The proliferation and multiplication of the image creates a formal movement resembling the golden ratio that, because of its frequent use in the most varied and seemingly unconnected natural and cultural contexts, for centuries has confirmed – in the human mind – that there is a relationship between macrocosm and microcosm.
When we look at Kuffer’s works, it is impossible not to create a bridge between the two most important artistic currents of the twentieth century that decisively influenced the perception of taste, which acquired expressiveness and examined the relationship between the individual and society: Futurism and Cubism.
While Futurism – the pure exaltation of speed, progress and renewal – emerged in the visual arts in a dizzying and dynamic rendering of bodies, Cubism multiplied the viewpoints through which to observe an object and became formalized in disorienting works, transforming the vision of reality.
All these elements converge in Kuffer’s photographic work, in which the subject is often the street and its throngs, distinctive places and individual objects. By breaking up the image, the artist shifts from a given reality to an undefined one moving towards abstraction. Yet the separation is never clear cut. The subjects are still recognizable but are rendered as if they had been viewed through the kaleidoscopic lenses of time, multiplying the possibilities of interpretation and meaning. The photographs thus become an unreal filter of reality, in which the image betrays its fake and fictional nature, its inability to be a faithful witness of what it should reproduce. Through his pictures, Kuffer stages a subjective transformation of everyday life and beckons each of us to offer an open interpretation of reality.
Diego Kuffer graduated with a degree in economics and specialized in psychoanalysis and semiotics at the Pontificia Universidade Catòlica in São Paulo. After a ten-year career in marketing, he entered the world of photography, attracted by the art circuit and the system of the art market. He enrolled in the two-year photography course at the Escola Panamericana de Arte, where he finished his studies in 2010. The Escola was the venue for his first collective exhibition, Paisagem Imaginária, curated by Eder Chiodetto, also the curator of Dobradiça, staged at the Arterix Gallery in São Paulo. In 2011 the Hebraica gallery staged his first solo show, Caderno de Anotações. That year he also commenced a solid collaboration with the Galéria Lume Photos. Kuffer’s work has garnered the attention of magazines such as Picame, Old and Nossa America, which published his photographs, and the journal Fotografia et al, which featured an in-depth interview with the artist. With Lume Photos he participated in the collective exhibition Photo Art Brasil (Galeria Sérgio Caribé, 2011), SP Arte/Foto (2011–2012), SP Arte (2012) and Art Rio (2012). In 2012 he also featured in Traços de Realidade, a collective exhibition with Juan Esteves and Rodrigo Kassab.