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"Argumentative Indians: Amartya Sen and Salman Rushdie in conversation" (May 2006) |
"Freedom to write: Orhan Pamuk, Margaret Atwood and Salman Rushdie" (April 2006) |
Brían Hanrahan, "The Key to Memory: an interview with Elias Khoury" (April 2006) |
Isabel Hilton, ""Imagining power: Carlos Fuentes interviewed" |
(February 2006) |
Charlotte Collins: You've also said that you make use of the juxtaposition of images. Can you explain exactly what you mean by that? |
Yto Barrada: The way I work is that I start by digging around, under, above a subject, so if I'm describing a situation or territory, I'm going to shoot lots of images without having a sort of a discipline of what I'm going to decide is the representation of the idea that I'm working on. So that's the first part, there's a lot of images that I'm taking. |
Once I start deciding what works, they're going to work as motifs, the motif of the back, the motif of the German wallpaper you often find in cafés in Tangier with exotic Alp mountains or forests in Montana. You can find this is a very funny situation there's a repetition in these motifs: the idea of smuggling |
Once I have these situation and photographs I'm going to work with putting them together. And the articulation |
there's many positions possible; it depends [on] the space where you show it. |
I can show five images to describe the body of work I'm working on, it can be twenty, it can be forty. The whole body of work is today about fifty images. And then I work on associations that are new every time with the images I have. It's not a narrative work, that's what I mean by juxtaposition. It's more like a sort of montage or like a collage. What's closest to what I'm trying to do is "photomontage". |
Charlotte Collins: So would you say we are intended to see the exhibition as a whole rather than the photographs individually? |
Yto Barrada: Ideally I think both are important: the experience of the image without all the information that I can give you if you read the detailed captions, the conversations around the book, the political context. That's one way of reading the image. |
No the work is good if they stand as individual images too, as associated images the way I show them in one place, in another place they'll be shown in a different way |
There's an experience of a place every time that's different. They should be working alone: you have partial information, you'd have just a portrait. A girl playing jacks turning her back to you is only a girl playing jacks. |
Charlotte Collins: I did rather wonder whether, for example with the girl playing jacks, or with the boys climbing under the wire to get out of or into the football pitch, whether the photograph would have the same resonance if we weren't seeing it in the context of this exhibition which is about borders if we didn't know where it was shot, and if we didn't have the notes that went with it about why you were doing this project? |
Yto Barrada: Well, no, it's not just about borders, it's about Tangier too, it's about describing the situation of this changing city, it's about my experience of being from that city |
I think these two layers are very important, that's why the captions are small, and that's why these photos are mine. You can take any photo of any photographer and if you weave it with another photograph you can reinvent projects |
But the situation is that it's me, Yto Barrada, from Tangier, describing from there's a date, too, there's a place, there's a date, there's a story. They could be used as a cover of a novel. You could take one image and they could be used for illustration. That's not what they're meant to be. They could be. But that's not what they're meant to be. There's one way of experiencing them that is the way I show them; you can take one or two out of context too and appreciate them for their sole description. |
Le Detroit, Avenue d'Espagne, Tangier 2000, A Life Full of Holes: the Strait Project © Yto Barrada |
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The Jallikattu brigade: Celebrities who are supporting the bull taming sport in Tamil Nadu |
As the row over the ban on Jallikattu intensifies, many big names including superstar Rajinijkanth legendary singer and composer AR Rahman, five time World Chess Champion Vishwanathan Anand and spiritual guru Sri Sri Ravi Shankar have come out in support of the bull taming sport. |
Chennai, News Nation Bureau | Updated : 19 January 2017, 08:52 PM |
Rajinikanth, AR Rahman, Vishwanathan Anand, Sri Sri Ravi Shankar |
Here is a list of celebs who are supporting Jallikattu: |
Sadhguru Vasudev, spiritual writer: "The bull is part of a farmer's family as it lives with them. Jallikattu celebrates the farmers' relationship with their livestock." |
"Jallikattu should be seen as a sport. If such festivals do not take place, the livestock will line up at slaughter houses." |
Rajinijkanth: Jallikattu should be allowed as the sport, as it is an integral part of the culture. |
AR Rahman: "I'm fasting tomorrow to support the spirit of Tamilnadu!" |
Sri Sri Ravi Shankar: "I support Jallikattu & request that the movement remains peaceful.Let's have patience while a fresh appeal is made in SC with correct facts." |
Vishwanathan Anand: "#jallikattu is a cultural symbol. Respect it. Im all for animal rights but here that is not the point. tradition & livelihood are". |
"my state rises again. In unison. In peace. Proud to be a #tamizhanda. Genext here are modern yet culturally rooted #JusticeforJallikattu." |
Ashwin Ravichandran: "Scenes of peaceful protest all around TN. Unity, peace and resolve will show our plea in the right light." |
Gautami: "Jallikattu is my people's pride! A great Indian tradition. Our celebration must be allowed!" |
"Jallikattu is only the tip of the iceberg. We must Save our CULTURE, our CATTLE, our ECONOMY! Is #PETA#MakeInIndia ???" |
#jallikattu is my people's pride! A great Indian tradition. Our celebration must be allowed! #TamilPride |
— Gautami (@gautamitads) January 9, 2017 |
ALSO READ | Jallikattu row: AR Rahman to observe fast; Sri Sri and Vishwanathan Anand come out in support of 'spirit of Tamil Nadu' |
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