Noli me tangere

Če Gevara (1928 – 1967) – sene upokojenih / the shadows of the deceased

8 Sep , 2017  

U trenutku kada dolazi do smene vlasti na Kubi i kada je neće više voditi niko iz porodice Kastro, na aerodromu u Floridi dolazi do protestovanja protivnika kubanskog režima zbog postavke izložbe sa slikom Če Gevare, jer za ljude koji su pobegli sa Kube ona je simbol komunizma. Iako je za većinu ljudi na svetu slika izvučena iz njenog istorijskog, društvenog i političkog konteksta, ona još uvek predstavlja simbol pobune nad kapitalizmom, ali su zaboravljene originalne konotacije komunizma i revolucije.

Pedeset godina nakon smrti Ernesta „Če“ Gevare – argentinskog doktora koji je vodio kubansku revoluciju iz 1959. godine zajedno sa Fidelom Kastrom – njegov portret je najreprodukovanija slika u istoriji fotografije. Fotografiju pod nazivom Guerrero Heroico, ili „heroj gerile“, napravio je kubanski fotograf Alberto Korda na sahrani 1960. godine poginulih Kubanaca a prvi put objavio nakon ubistva Če Gevare 1967. godine.

Če Guevarina slika imala je uticaj sve društvene pokrete od 1960-ih. Godine 1968. godine, nakon ubistva Guevare, njegov imidž je primećen u Istočnoj Evropi, Srbiji, Beogradu, SAD, Rusiji, Tjenanmen trgu, ali na Zapadnoj obali i Gazi. Pojavio se i u Teheranu 1979. godine, a nedavno smo imali prilike da ga vidimo i na arapskom proleću 2011. godine.

Taj osećaj misterije odnosi se ne samo na fotografiju, već i na osobu Če Gevare. Dok je i dalje izuzetno poznat na Kubi i širom Latinske Amerike, gde deca kada ga prvi put vide znaju da je heroj, čini se da se ostatak sveta vidi pre svega simbol otpora i borbe za pravdu.

Za mene povezivanje slike Če Gevare gubi smisao ukoliko je posmatrate iz političkog ugla. On je nekako više ikona, koju su kao retko koju prihvatili svi ljudi na svetu bez obzira na nacionalnost i religiju, jer na slici je  veoma lep čovek koji izgleda zavodljivo i misteriozno. A pored toga njegov lik prikazan grafički me asocira na likove dragih ljudi koji nisu više sa nama. Onako kako im blede glasovi, tako i lik u našim mislima nestaje vremenom. Ostaju konture koje kao sene upokojenih nestaju zajedno sa nama.

Ideja da u okviru projekta 1000 portreta obradimo fotografije preminulih ljudi na način Če Gevare predstavlja osnovu ideje Noli me tangere, jer pošto više ne možemo da ih dotaknemo, možemo da ih se setimo. Na taj način dobijamo novu sliku ljudi koje smo voleli i bar za kratko ih otržemo od zaborava.

At the moment when there is a change of power in Cuba and when no one from the Castro family will be leader, a protest against the Cuban regime opens due to the setting up of the exhibition with a portrait of Guevara, at the airport in Florida, as a symbol of communism for people who have fled from Cuba. Although for most people in the world the image is taken from its historical, social and political context, it still represents a symbol of the rebellion against capitalism, but the original connotations of communism and revolution have been forgotten.

Fifty years after the death of Ernesto „Che“ Guevara – the Argentine doctor who led the Cuban Revolution of 1959. along with Fidel Castro – his portrait is the most re-produced painting in the history of photography. A photo named Guerrero Heroico, or a „hero of the guerrilla“, was made by Cuban photographer Alberto Korda at the 1960 on the funeral of the dead Cubans and was first published after the murder of Che Guevara in 1967.

Che Guevara’s portrait has influenced all the social movements of the 1960s. In 1968, after the murder of Guevara, his image was spotted in Eastern Europe, Serbia, Belgrade, US, Russia, Tiananmen Square, but on the West Bank and Gaza. He appeared in Tehran in 1979, and recently we saw him in the Arab spring of 2011.

This feeling of mystery applies not only to photography, but also to the person of Che Guevara. While still highly known in Cuba and throughout Latin America, where children first see him recognize a hero, it seems that the rest of the world is seen above all as a symbol of resistance and a fight for justice.

For me linking a picture Che Guevara loses meaning if you look at it from a political angle. It is somehow more icons, which are rarely accepted by all people in the world regardless of nationality and religion, because on the picture is a very nice man who looks seductive and mysterious. And besides, his image associating me graphically with personalities of dear people who are no longer with us. In the same way as their fading voices, so their figurers in our mind disappears over time. There remaining contours as the shadows of the deceased disappear along with us.

The idea that in the 1000 portrait project we process photos of deceased people in the way as Che Guevara represents the basis of the idea of ​​Noli me tangere, because since we can no longer touch them, we can remember them. In this way, we get a new picture of the people we love and for a short time torn them away from oblivion.

 


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