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What is Caja Ficción?
Caja Ficción Text of the Process
Text by Roberto Huarcaya
Recorrido de Caja Ficción

Paisaje Acción  by Jorge Villacorta

The presence of the human shape standing against the horizon on landscape images was initially a convention in painting and later, during the XIX century, in photography.We can frequently find  one or more individuals or a mountain range. It is clear that for every photographer these presences represent scale indicators, elements which help the observer who has never been in these parts before, or who had never dreamnt with their existence, to be aware of the extension of the landscape and, more often of how unmeasurable Nature can be.

Chionmang's photographic proposal (Luis Chiang Chang-Way, Lima, 1970) is rich is decidedly heterodox notes and it partly reminds us of visual information building devices and it could be seen as a reductio ad absurdum statement.

His proposal is also photographically  linked to the records that documented  performances and body art from the 60s and 70s during which artists were looking for  radical actions and chose the ephimerous, using their bodies as a means for creation. However, the difference lies in the fact that Chionmang places himself on the scene before the photographic device and builds  his own image in an anonymous pose.

The distance in which he is recorded in the space is always variable and thus dimensions become ambiguous, hence they are not a dependable marking: he can profile himself  against prairies, skies, trees and mountains that would seem to become an open window and the surroundings, a backstage.  So the box and its  inhabitant would almost become an allegory, the representation of the inclusion of human into natural, the reinsertion -reconciliation?- by mere artifice.

The individual´s nudity is an unexpected interference is no longer a perfectly neutral scale indicator. Here, another clue is revealed. Little by little the expectator realizes that Chionmang has not chosen simple places  but locations to be photographed. Thus there is no natural landscape versus urban space. In his scenery, the approximation to the space, as it is recorded gives away his position: every place is built by the imagination.

The box is not an anonymous space. It disappears as a container and reappears as content. Chionmang´s body is the device that performs. His lens verifies his presence on location and ties him to the world.

Jorge Villacorta Chávez.

Lima, February 1998.