{"id":2388,"date":"2023-01-09T20:30:43","date_gmt":"2023-01-09T19:30:43","guid":{"rendered":"https:\/\/sollabsevilla.com\/?p=2388"},"modified":"2023-02-28T15:11:56","modified_gmt":"2023-02-28T14:11:56","slug":"viviane-sassen","status":"publish","type":"post","link":"https:\/\/sollabsevilla.com\/index.php\/2023\/01\/09\/viviane-sassen\/","title":{"rendered":"Viviane Sassen"},"content":{"rendered":"\n
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Viviane Sassen<\/h2>\n\n\n\n
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Viviane Sassen se hizo un nombre al combinar el arte y la moda con su v\u00edvida fotograf\u00eda, retratando a menudo personas de origen africano que conoci\u00f3 en sus viajes por el continente.\u00a0<\/p>\n\n\n\n

Sus im\u00e1genes emanan una calidad v\u00edvida y surrealista, a menudo presentando yuxtaposiciones inusuales de figuras humanas, arquitectura y paisajes agrestes. <\/p>\n\n\n\n

La fuerza de esta fot\u00f3grafa holandesa siempre ha estado en reinventar las perspectivas.<\/p>\n\n\n\n

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\"Viviane<\/figure>\n\n\n\n
\"Viviane<\/figure>\n\n\n\n
\"Viviane<\/figure>\n<\/figure>\n\n\n\n

En los a\u00f1os 90, (cuando estaba de visita en Kenia, en la casa de su infancia donde vivi\u00f3 con sus padres desde los 2 hasta los 6 a\u00f1os) comenz\u00f3 a definir su enfoque y a adentrarse en lo art\u00edstico, en un momento en que la mayor\u00eda de los fot\u00f3grafos que trabajaban en el continente africano eran fotoperiodistas. La norma era capturar la guerra o la hambruna, las sociedades tribales y las costumbres locales, a menudo a trav\u00e9s de una lente que pretend\u00eda parecer objetiva. <\/p>\n\n\n\n

Por un corto tiempo, Sassen se dedic\u00f3 a hacer esto mismo, luego se convirti\u00f3 en una pionera con su propia visi\u00f3n. <\/p>\n\n\n\n

\u201cSe me ocurri\u00f3 que pod\u00eda hacer mis propias im\u00e1genes escenificadas y trabajar a mi manera\u201d,<\/em> dice. <\/p>\n\n\n\n

\u201cRegres\u00e9 al pueblo de mi infancia y ten\u00eda todas estas ideas y visiones y cuando comenc\u00e9 a poner en escena estas im\u00e1genes, sent\u00ed que esto era algo muy nuevo\u201d<\/em>. <\/p>\n\n\n\n

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Hasta la fecha, la carrera de Sassen ha logrado un equilibrio entre el mundo comercial y el conceptual: ha realizado exposiciones individuales en museos internacionales y ha trabajado como fot\u00f3grafa para marcas de lujo. <\/p>\n\n\n\n

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\"Viviane<\/figure>\n\n\n\n
\"Viviane<\/figure>\n\n\n\n
\"Viviane<\/figure>\n\n\n\n
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\"Viviane<\/figure>\n<\/figure>\n\n\n\n

En la d\u00e9cada de los 2000, fue reconocida internacionalmente por dos series, \u201cFlamboya\u201d y \u201cParasomnia\u201d, que reflejan el \u201cpensamiento m\u00e1gico\u201d que en parte surgi\u00f3 de los recuerdos de su juventud. Ambos cuentan con modelos negros que posan en posturas antinaturales, a menudo oscureciendo sus rostros. <\/p>\n\n\n\n

En 2007, gan\u00f3 el Prix de Rome, uno de los premios de arte m\u00e1s importantes de los Pa\u00edses Bajos.<\/p>\n\n\n\n

Sassen ha vuelto a vivir en \u00c1frica en su adultez; su esposo, que tambi\u00e9n es holand\u00e9s, tambi\u00e9n pas\u00f3 un tiempo en el continente con su padre m\u00e9dico cuando era joven. Juntos, viajaron mucho y pasaron mucho tiempo en Tanzania, donde criaron a su hijo (ahora de 11 a\u00f1os). <\/p>\n\n\n\n

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\"Viviane<\/figure>\n\n\n\n
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Recientemente, Vivian Sassen lucha contra las cr\u00edticas hacia su obra, que se han intensificado en los \u00faltimos a\u00f1os. <\/p>\n\n\n\n

A principios del a\u00f1o pasado, un cr\u00edtico de arte la acus\u00f3 de \u201capropiaci\u00f3n cultural\u201d. Escribi\u00f3 que a Sassen le gustaba fotografiar la piel negra, \u201cy lo convirti\u00f3 en el trabajo de su vida, para que las personas negras se reduzcan una vez m\u00e1s a su color de piel\u201d<\/em>.<\/p>\n\n\n\n

Sassen ahora asume la delicada tarea de defender su trabajo mientras lucha con sus propios sentimientos complicados al respecto. Su uso de modelos negros \u00abpuede ser la parte de mi trabajo m\u00e1s conocida, pero no es la mayor parte de mi trabajo\u00bb. <\/em><\/p>\n\n\n\n

A\u00fan as\u00ed, la artista dice que entiende la din\u00e1mica pol\u00edtica, social y racial mejor ahora que cuando estaba comenzando. <\/p>\n\n\n\n

\u201cComo soy una mujer blanca que fotograf\u00eda en \u00c1frica con esta c\u00e1mara, que ya es una herramienta de poder, l\u00f3gicamente plantea todas estas preguntas sobre la representaci\u00f3n\u201d<\/em>, dice. <\/em><\/p>\n\n\n\n

\u00abSoy muy consciente de eso y a lo largo de los a\u00f1os he estado pensando en esto de diferentes maneras y todav\u00eda es algo muy importante y algo que no siempre puedo precisar o explicar\u00bb.<\/em><\/p>\n\n\n\n

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Al crecer en los Pa\u00edses Bajos, Sassen siente que puede haber estado algo aislada de las discusiones relacionadas con la raza y la historia del colonialismo y la esclavitud, que eran m\u00e1s frecuentes en los Estados Unidos y Sud\u00e1frica. Este tipo de discurso poscolonial no era tan com\u00fan en la cultura holandesa hasta hace relativamente poco tiempo, ya que los Pa\u00edses Bajos nunca tuvieron un movimiento por los derechos civiles.  <\/p>\n\n\n\n

\u201cEs muy importante hacerse esas preguntas dif\u00edciles y seguir haci\u00e9ndolas\u201d, dice Sassen. \u201cEso tambi\u00e9n es lo que hago y trato de hacer, pero me he vuelto mucho m\u00e1s cautelosa sobre a qui\u00e9n fotograf\u00edo, d\u00f3nde y cu\u00e1ndo\u201d<\/em>. <\/p>\n\n\n\n

En estos d\u00edas, dice, tiende a fotografiar menos a las personas, optando en cambio por representar el cuerpo a trav\u00e9s del reflejo o la sombra.<\/p>\n\n\n\n

\u201cEn \u00faltima instancia, hago un trabajo que de alguna manera est\u00e1 conectado con mi vida, con mi vida personal, y \u00c1frica ha sido una gran influencia en mi vida\u201d<\/em>, dice Viviane Sassen. \u201cEs algo a lo que sigo regresando\u201d.<\/em><\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Viviane Sassen Viviane Sassen se hizo un nombre al combinar el arte y la moda con su v\u00edvida fotograf\u00eda, retratando 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