Photography by Santiago Barreiro
Fotografía de Santiago Barreiro
| 2016 | |
| Español | |
| Universidad Católica del Uruguay | |
| LIBERI | |
|
https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/1173
https://hdl.handle.net/10895/3458 |
|
| Acceso abierto |
| _version_ | 1815178704123330560 |
|---|---|
| author | Barreiro, Santiago |
| author_facet | Barreiro, Santiago |
| author_role | author |
| collection | LIBERI |
| dc.creator.none.fl_str_mv | Barreiro, Santiago |
| dc.date.accessioned.none.fl_str_mv | 2023-09-12T19:14:22Z |
| dc.date.available.none.fl_str_mv | 2023-09-12T19:14:22Z |
| dc.date.none.fl_str_mv | 2016-06-13 |
| dc.description.en-US.fl_txt_mv | “This series is an extract of a work in progress that gives continuity to the search, record and to a personal inquiry into the world of dance. In this case, as rehearsal, I’m working on a more conceptual idea, where the aesthetics prevail as a fundamental tool to wonder about interpretations, roles and freedoms in dance. It does not sprung from an objective study, not also from a dichotomic mode of thought where we are either free or not, or where something is either true or false; neither from a palpable reality: it is a personal worry, an isolated question that, on the course of an investigation, takes the form of a photo: Who is the one who dances? Is the internal struggle, the repressed feeling of the dancer to become, at last, their own interpreter leaving the body as an instrument to represent other lives; the ones that eventually become theirs. There are many bodies, many perceptions, many features; all except their own. A face that complains, hides deeply flashes of anger”.Santiago Barreiro (1985) trained as a photographer at the Fotoclub Uruguayo and immediately started working for local and international companies, magazines and media organizations. He has taken part in several group projects and has displayed his work both locally and overseas. As a result of a deep interest in classical dance, in 2012 he is hired by Julio Bocca to photograph the work of the Ballet Nacional del Sodre (Uruguay). In 2015, he publishes Pueblo Ballet, his first book. |
| dc.description.es-ES.fl_txt_mv | “Esta serie es un extracto de un trabajo en desarrollo que da continuidad a la búsqueda, al registro y a la investigación personal acerca del mundo de la danza. En este caso, y a modo de ensayo, trabajo sobre una idea más conceptual, donde la estética prima como herramienta fundamental para preguntarse acerca de las interpretaciones, los roles y las libertades en la danza. No nace de un estudio objetivo ni de un pensamiento dicotómico donde somos libres o no, donde algo es verdad o es mentira; tampoco de una realidad palpable, sino de una inquietud y de una pregunta aislada que, al investigarse, toma forma de foto: ¿Quién es quien baila? Una lucha interna; un sentimiento apagado. El bailarín, al fin, como su propio intérprete. Dejar de usarse como móvil para representar otras vidas de antaño, vidas que eventualmente hace suyas. Son muchos cuerpos, muchos sentires, muchos rostros. Todos menos el propio, ese que, al ocultarse profundamente, se queja”.Santiago Barreiro (1985) se forma en el Fotoclub Uruguayo y de inmediato comienza a trabajar para entidades, publicaciones y medios de prensa locales e internacionales. Ha participado en varios proyectos colectivos y expuesto su obra dentro y fuera de la región. Resultado de un profundo interés en la danza clásica, en 2012 es convocado por Julio Bocca para documentar el trabajo del Ballet Nacional del Sodre (Uruguay). En 2015 publica Pueblo Ballet, su primer libro. |
| dc.format.none.fl_str_mv | application/pdf |
| dc.identifier.none.fl_str_mv | https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/1173 10.22235/d.v0i24.1173 |
| dc.identifier.uri.none.fl_str_mv | https://hdl.handle.net/10895/3458 |
| dc.language.iso.none.fl_str_mv | spa |
| dc.publisher.es-ES.fl_str_mv | Universidad Católica del Uruguay |
| dc.relation.none.fl_str_mv | https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/1173/1135 |
| dc.rights.none.fl_str_mv | info:eu-repo/semantics/openAccess |
| dc.source.en-US.fl_str_mv | Dixit; No. 24 (2016): Dixit; 104-109 |
| dc.source.es-ES.fl_str_mv | Dixit; Núm. 24 (2016): Dixit; 104-109 |
| dc.source.none.fl_str_mv | 0797-3691 1688-3497 10.22235/d.v0i24 reponame:LIBERI instname:Universidad Católica del Uruguay instacron:Universidad Católica del Uruguay |
| dc.source.pt-PT.fl_str_mv | Dixit; N.º 24 (2016): Dixit; 104-109 |
| dc.title.none.fl_str_mv | Photography by Santiago Barreiro Fotografía de Santiago Barreiro |
| dc.type.none.fl_str_mv | info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
| dc.type.version.none.fl_str_mv | info:eu-repo/semantics/publishedVersion |
| description | “This series is an extract of a work in progress that gives continuity to the search, record and to a personal inquiry into the world of dance. In this case, as rehearsal, I’m working on a more conceptual idea, where the aesthetics prevail as a fundamental tool to wonder about interpretations, roles and freedoms in dance. It does not sprung from an objective study, not also from a dichotomic mode of thought where we are either free or not, or where something is either true or false; neither from a palpable reality: it is a personal worry, an isolated question that, on the course of an investigation, takes the form of a photo: Who is the one who dances? Is the internal struggle, the repressed feeling of the dancer to become, at last, their own interpreter leaving the body as an instrument to represent other lives; the ones that eventually become theirs. There are many bodies, many perceptions, many features; all except their own. A face that complains, hides deeply flashes of anger”.Santiago Barreiro (1985) trained as a photographer at the Fotoclub Uruguayo and immediately started working for local and international companies, magazines and media organizations. He has taken part in several group projects and has displayed his work both locally and overseas. As a result of a deep interest in classical dance, in 2012 he is hired by Julio Bocca to photograph the work of the Ballet Nacional del Sodre (Uruguay). In 2015, he publishes Pueblo Ballet, his first book. |
| eu_rights_str_mv | openAccess |
| format | article |
| id | LIBERI_6fe6814b82625959bfd28babe85c5e7f |
| identifier_str_mv | 10.22235/d.v0i24.1173 |
| instacron_str | Universidad Católica del Uruguay |
| institution | Universidad Católica del Uruguay |
| instname_str | Universidad Católica del Uruguay |
| language | spa |
| network_acronym_str | LIBERI |
| network_name_str | LIBERI |
| oai_identifier_str | oai:liberi.ucu.edu.uy:10895/3458 |
| publishDate | 2016 |
| reponame_str | LIBERI |
| repository.mail.fl_str_mv | franco.pertusso@ucu.edu.uy |
| repository.name.fl_str_mv | LIBERI - Universidad Católica del Uruguay |
| repository_id_str | 10342 |
| spelling | Barreiro, Santiago2016-06-132023-09-12T19:14:22Z2023-09-12T19:14:22Zhttps://revistas.ucu.edu.uy/index.php/revistadixit/article/view/117310.22235/d.v0i24.1173https://hdl.handle.net/10895/3458“This series is an extract of a work in progress that gives continuity to the search, record and to a personal inquiry into the world of dance. In this case, as rehearsal, I’m working on a more conceptual idea, where the aesthetics prevail as a fundamental tool to wonder about interpretations, roles and freedoms in dance. It does not sprung from an objective study, not also from a dichotomic mode of thought where we are either free or not, or where something is either true or false; neither from a palpable reality: it is a personal worry, an isolated question that, on the course of an investigation, takes the form of a photo: Who is the one who dances? Is the internal struggle, the repressed feeling of the dancer to become, at last, their own interpreter leaving the body as an instrument to represent other lives; the ones that eventually become theirs. There are many bodies, many perceptions, many features; all except their own. A face that complains, hides deeply flashes of anger”.Santiago Barreiro (1985) trained as a photographer at the Fotoclub Uruguayo and immediately started working for local and international companies, magazines and media organizations. He has taken part in several group projects and has displayed his work both locally and overseas. As a result of a deep interest in classical dance, in 2012 he is hired by Julio Bocca to photograph the work of the Ballet Nacional del Sodre (Uruguay). In 2015, he publishes Pueblo Ballet, his first book. “Esta serie es un extracto de un trabajo en desarrollo que da continuidad a la búsqueda, al registro y a la investigación personal acerca del mundo de la danza. En este caso, y a modo de ensayo, trabajo sobre una idea más conceptual, donde la estética prima como herramienta fundamental para preguntarse acerca de las interpretaciones, los roles y las libertades en la danza. No nace de un estudio objetivo ni de un pensamiento dicotómico donde somos libres o no, donde algo es verdad o es mentira; tampoco de una realidad palpable, sino de una inquietud y de una pregunta aislada que, al investigarse, toma forma de foto: ¿Quién es quien baila? Una lucha interna; un sentimiento apagado. El bailarín, al fin, como su propio intérprete. Dejar de usarse como móvil para representar otras vidas de antaño, vidas que eventualmente hace suyas. Son muchos cuerpos, muchos sentires, muchos rostros. Todos menos el propio, ese que, al ocultarse profundamente, se queja”.Santiago Barreiro (1985) se forma en el Fotoclub Uruguayo y de inmediato comienza a trabajar para entidades, publicaciones y medios de prensa locales e internacionales. Ha participado en varios proyectos colectivos y expuesto su obra dentro y fuera de la región. Resultado de un profundo interés en la danza clásica, en 2012 es convocado por Julio Bocca para documentar el trabajo del Ballet Nacional del Sodre (Uruguay). En 2015 publica Pueblo Ballet, su primer libro.application/pdfspaUniversidad Católica del Uruguayhttps://revistas.ucu.edu.uy/index.php/revistadixit/article/view/1173/1135Dixit; No. 24 (2016): Dixit; 104-109Dixit; Núm. 24 (2016): Dixit; 104-109Dixit; N.º 24 (2016): Dixit; 104-1090797-36911688-349710.22235/d.v0i24reponame:LIBERIinstname:Universidad Católica del Uruguayinstacron:Universidad Católica del UruguayPhotography by Santiago BarreiroFotografía de Santiago Barreiroinfo:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/openAccess10895/34582023-09-12 16:14:22.603oai:liberi.ucu.edu.uy:10895/3458Universidadhttps://www.ucu.edu.uy/https://liberi.ucu.edu.uy/oai/requestfranco.pertusso@ucu.edu.uyUruguayopendoar:103422023-09-12T19:14:22LIBERI - Universidad Católica del Uruguayfalse |
| spellingShingle | Photography by Santiago Barreiro Barreiro, Santiago |
| status_str | publishedVersion |
| title | Photography by Santiago Barreiro |
| title_full | Photography by Santiago Barreiro |
| title_fullStr | Photography by Santiago Barreiro |
| title_full_unstemmed | Photography by Santiago Barreiro |
| title_short | Photography by Santiago Barreiro |
| title_sort | Photography by Santiago Barreiro |
| url | https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/1173 https://hdl.handle.net/10895/3458 |
