Madoz, Obras maestras SIGNED CATALOGUE RAISONNE WERKVERZEICHNIS

Madoz, Chema (eig. José María Rodriguez).
Obras maestras. (Essays by Duane Michals, Olivia Maria Rubio, Estrella
de Diego and Christian Caujolle). Tercera edición revisada y ampliada
con nuevas imágenes. Madrid, La Fábrica (2014). 4°. 480 S. mit über 300
Duotone-Tafeln. OLn. mit illustr. OU. u. Bauchbinde (Bellyband).

Erweiterte dritte Auflage des
Werkverzeichnisses des spanischen Foto-Künstlers. – Von C. Madoz auf dem
Titelblatt signiert. – „This book, which initiates La Fábrica’s
Masterpieces Collection, tells the story of Chema Madoz through the
reproduction of more than 300 photographs within its 480 pages. Page by
page, three decades of creation are covered and the artist’s inner world
is revealed. His life and works are discovered thanks to essays by
Duane Michels, Olivia Maria Rubio, Estrella de Diego and Christian
Caujolle as well as an extensive and detailed illustrated chronology“
(Klappentext). – „I am astouned and delighted by his wit. Surely must be
Borges’ unborn son“ (D. Michals). – „Chema Madoz born in 1958 in
Madrid, where he lives and works. He studied History of Art at the
Complutense University of Madrid. His first individual exhibition was in
Madrid in 1983, at the Royal Photographic Society of Madrid. Since 1990
he has been developing the concept of objects, a subject which would
appear constantly in his photography until the present. The photographs
show in a subtle and ironic way paradoxical worlds of everyday objects.
Familiar objects are placed in a new context, beyond a function – and
achieve a new meaning through the playful interaction with other
objects. These assembled constructions play with reality, our perception
and exaggerate it – and release it in a poetic way. … Madoz’s
photographs are titled “Untitled”, which is itself a paradox. In fact,
by titling his photographs “Untitled”, what Madoz does is to
paradoxically, (un)title his photographs. Madoz plays with the (visual)
poetry of language and the complex simplicity of his (re) contextualised
(re) presentations which, via resemblance and distraction, are
performed in our intellect, leading us into a state of not only dual
contemplation but of interaction; giving us, in any case, something we
did not have before“ (P. V. Mullor, Eyemazing issue 02-2007). –
Tadellos.