#mac adams

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the toaster by mac adams (1976)

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• Mac Adams

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The Swing, Photo by Mac Adams, 1978

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“Crimes of perceptions” - Mac Adams, Ed. Regard, 2001

Précédé de deux textes : “Entre deux crimes” de Yannick Vigouroux et “Cluedo Photo” de Judicaël Lavrador

C’est l’été, l’occasion de scruter quelques livres oubliés des lecteurs... et découvrir quelques perles !

Mac Adams, Artiste narratif et conceptuel gallois installé aux USA depuis 1967, se joue des clichés de la littérature et du cinéma de genre, policier et gore. Les courtes séries de deux ou trois photos soulignent à l’envie notre propension à nous contenter du connu (ici, les clichés et postures de la violence et du fait-divers) pour faire de l’image une preuve, une évidence. Ici, la platitude des images stimule nos balises mentales et laisse jouer l’inconscient optique.

PHOTO 2 ADAM

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Mac Adams, The Sofa, 1979

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Fotografie

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.... le fotografie chiudono il visibile in un rettangolo. Il visibile senza cornice è sempre un'altra cosa.

Antonio Tabucchi - Notturno indiano

Ph Mac Adams

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Between a Banana and a Mouse

By Lorna Owen

The photographer/conceptual artist Mac Adams references the Buddhist concept of interconnectedness when he speaks of his series “Empty Spaces,” which he envisioned in the mid-1990s. He grouped together disparate objects and shone a light from a single source. The shadow the cluster of items cast disclosed an actuality that was at once unexpected and familiar: a bird or a rabbit, a cat or a moth. A banana, a rock and a rope suddenly became a prostrated mouse.

What happens in the space between ‘what we know exists’ and ‘what we see’ has driven the imagination of this internationally acclaimed, Welsh-born American artist from early on.

Starting out in the sixties, he produced one installation after another that spoke of the aftermath of a physical encounter—a bed torn apart, a chair knocked over, things scattered across the rug on the floor. Adams later turned these three-dimensional scenarios into photographs, ‘meticulously staged.’ He moved on to creating diptychs and triptychs with shots hinting at probable acts of violence, before and after—part Weegee, part Cindy Sherman so it seems; and on to capturing similar images reflected in shiny surfaces of teapots and mirrors. Regardless, however, of the approach, he left the fuller narrative just off the page; he left his viewer-voyeur to fill in the blanks, to interpret the crime.

Adams’s “Empty Spaces” series is no different in the ambiguity it engenders. He writes, “These shadows, when projected, create a disjunction between the traditional concept of form and content as a unified ideal, and begin to suggest other parallel phenomena existing as an illusion.”

From Mouse Interrupted

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Exposição Sombras e Mistérios de Mac Adams expostas no Caixa Cultura em 2018, além de fotos de itens refletindo figuras não bem vistas e alguns cenarios com um clima de mistério era composta de de itens comuns dispostos de tal jeito que suas sombras criavam imagens de outras coisas, irreais que compartilhavam o espaço perceptivo do publico.