Reviewed by Justin Herfst
In the opening sequence of Igor Posner’s Cargó, two images are stacked on top of each other. In the top image is a green thicket, and in the bottom a black and white image of an elderly gentleman dressed in a long coat walking in the dark. The man appears deep in thought, the very top of his head cut out by the frame almost as though his head were filled with the imaginations of the thicket. The sequence is pure intuition, an inner movement that has been refined over the ten years Posner worked on Cargó. Like two disparate sounds brought together into harmony, the sequence intuitively makes sense. On the following page are two black and white images, one of a women’s legs on a bed and the other a boy looking on into the camera. In the low light, the shutter speed is slowed and both images are blurred. Black space in both photographs reach across the page so no border separates the images and there is no frame save for the rectangle of the page. Gone are any presuppositions of tradition and bookmaking. In its edit and its subject, Cargó is loosed from the material present and handed over to the subliminal. [Read more…]
