Fabulatory Becoming, Expanding
Durations, and Instantaneous Movements in Alessandra Sanguinetti's Photographs
Ten years go by and, still, the shots in The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams look as if made in a single afternoon. The durations and becomings in the passage from the characters' childhoods to their adult lives could be described as an intense performative encounter or even a game, played between the photographer and the children.
If we assume the inherent qualities of change and duration in these photographs, the passing of time in Alessandra Sanguinetti's images might remind us of some aspects described by Gilles Deleuze in his writtings about film. Looking from this angle, these could be images of an encounter between cinema and photography as fields contaminating each other reciprocally, expanding towards each other.
As the real, or durational, quality from the referent in the daily life of the photographed characters is turned up into fabulation, the images give access to new beings, to invented people, to unprecedented specificities of time.
The subject of this article is the realm of an imaginary documentary, where images evoke bifurcations, take shape and gain movement inasmuch as they cease to allude to a given and objective notion of the real. In the particular photographic form of free indirect speech - a concept originally theorized in the contect of images by Pier Paolo Pasolini and Gilles Deleuze in order to discuss an encounter between film and literature - it is not only the photographic apparatus what takes place, but also a relational process what creates slits between objectivity and subjectivity.
Alessandra Sanguinetti. The Necklace; The Couple; Ophelias. Buenos Aires Argentina. 2001 © Alessandra Sanguinetti | Magnum photos
Originally published in Aniki : Portuguese Journal of the Moving Image [Online], 2.1 (2015): 73-93. Web. 24 Out. 2019