TOSHIVA Emotional Storage
The image of the world is stored on hard disks, on digital devices. But what kind of world can be stored there? From the tin box where, in the middle of the 20th century, the popular classes stored their family history in a dozen photographs, in the seventies it was transferred to the album, a support with capacity for hundreds of images that showed a life with more detail and colour. In the 21st century the irruption of the digital support allowed to carry out the fantasy of storing without limits an entire life made of images. A delirium in which Funes "the Memorious" would have found his best ally. Funes, that fictitious character of Jorge Luis Borges who was able to remember what he had lived in such detail that he needed a whole day to give an account of the memories of the previous day. To suffer the misfortune of not being able to forget anything that happens, expresses in reality the paradox of being able to remember only the immediate thing. How many hours or days would we need to see the photographs taken in the last five years? If in the contemporary world the return of orality prevails over writing, listening to reading, exemplified in tutorials by Youtube that have turned physical manuals into a collector's piece, the image seems to be loaded with that halo of orality and digital supports have now been transformed into stories that, exposed on Facebook or Instagram, last for an instant and disappear. As the spoken word disappears in every intimate conversation, but here with tolls in the form of "like".
The box, album, disc, cloud or Instagram are containers of images that require a certain type of reading, but also express the ways in which we relate to photography. The snapshots of the generation of the fifties, stored in boxes, found meaning in every reading that was made when they were shown, in every opening of that kind of treasure chest where the images that explained the world appeared. However, it is not precisely treasures that we find today on a hard disk like this one, but rather guts in jpg format, unconnected insides that resemble our viscera more than a comprehensible story. If in past times people spent a lot of time looking at few photographs, today the ritual is reversed and we are just an instant looking at endless snapshots. The coexistence with the image has changed, we feel invaded by our own photographs, accumulated in supports that look like cities, places through which one travels without greeting too much in order to reach our destination.
Wondering what the photographic medium has to say in a book like this, a book whose shape is a hard disk, becomes fundamental. Matías creates it because he makes his own retrospective an analysis of the contemporary image, an image that hardly escapes from the places where they themselves live. What kind of world can one keep on a hard disk? The drifts of tourism, the flashes of politics or the obsession of the self, are some of the paths that mark their own guts. From there we enter into desire, into the body marked by scars and curtains, into the silent gaze of the animals in front of the last peoples that inhabit the earth. Post-truth and anxiolytic or anxiety and digital garbage are other gorges in which to transit, those where the smiles of the selfis that invade the hard disks are exposed. Matías has ordered the streets of his own digital media by selecting several photographic series, those that allow us, not so much to give an account of all his work, but to offer a map to navigate in his entrails.
Thanks to all those who appear in this book, to those who do not know but appear and to those who helped me in the process, especially to Fosi Vegue, Javi Cuadrado, Jorge Moreno Andrés, Paco López and Dalpine Photography Books.