Then Berlin, where she lived for a year and a half and fervidly enjoyed the nightlife there.ĭifferent in every place and, to some extent, recognizable. Sure, she did not belong to that world in that case, but her interest was arguably not a documentary type of interest. As it was when she would photograph women in Istanbul from behind.
Her look is that of an insider, deeply engaged. Her attitude refers more to that of Nan Goldin than to that of Martin Parr. In this sense, her work is particular, surreal.
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It is as if those pictures, full of details, of triggers, were able to communicate even the deafening sound of those places.Ĭonsidering Carolina as a simple observer would be a mistake: she takes pictures from the perspective of a peer, of a protagonist of those parties. Each of her images emanate an exasperated, grotesque, loud atmosphere. Burlesque, stripteases, possibly fake joy, alleged sadness. She arrives there with her cameras, she insinuates herself into those human webs she likes, where she feels perfectly at ease. Carolina attends several parties, people invite her, she gets herself invited. Each photograph started from a more or less fatal attraction.
Images come with captions, locating them geographically is not that important. Where are we? Budapest, Prague, Milan, Paris, Los Angeles. What is this about? Reportage? Social investigation? Portrait? Does it really matter? What matters is the result, what sticks in the eyes after immersing oneself in those pictures full of color, mostly flat, powerful, extreme, sometimes vulgar. What impressed me in the beginning were the strong, exasperated colors, the bodies, so loudly dressed. In that moment, I realized that I did not know anything about this part of the world. When I first saw these photographs in the artist’s residency in Milan, while chatting and having a cup of tea, I was stunned. Her work requires a 360-degree full immersion into a world that represents a discovery for me. In order to approach ‘ Les Nuits Fauves’ by Carolina Lopez, one needs to divest oneself of any artistic and social prejudice. If there has always been little point in creating categories, there has been even less in our historical period. ‘Les Nuits Fauves’ by Carolina Lopez reviewed by Angela Madesani Angela Madesani, well known in the Italian art world, wrote the following text. For the past four years I have been working on a photographic art book entitled “Les Nuits Fauves” and now thanks to crowdfunding it has been published by the Italian publishing house Self Self Books.