Ashimoto  (2007 - 2013)

I follow your imperfect steps, your fragile beauty, almost brittle. Glimmers of intimacy in the big city. Around your feet...

César Ordóñez


Ashimoto: Japanese polysemous term that, among other senses, means "around the feet". Referring only to the foot, the foot including a part of the leg, or to the part of the foot that -for example- is intuited through the fold of a kimono. An intentionally ambiguous title that, as if it were one more work of the project, allows multiple interpretations; as many as spectators come to work, as many as the protagonist city of these photographs: Tokyo.

This series of images of female feet and legs insinuate much more than they show, and show what is necessary for viewers to complete these "portraits" with their imagination. The use of the word "portrait" is not arbitrary. In many cases, a part of the body or its gestures, can provide us as much or more information about a person, than that offered by the face itself.

Beauty as inspiration, intimacy as a nexus, metonymy as language and the streets of Tokyo as a stage. These are the bases on which the Ashimoto project is built. Photographs that despite being made in public spaces, paradoxically, convey a great intimacy. A concept: intimacy, which articulates all the works of César Ordóñez in the Japanese capital. Symbolically, the express combination of images (color or black and white, static or moving) is intended to be a representation of the infinite layers that interact and coexist in the megalopolis. Of its motley, fragile and complex harmony.

Regarding the work methodology, these works could be defined as "found photographs", a mixture of "stolen" and permitted photographs, all of them as a  result of casual encounters by the streets of Tokyo. It should be noted that, although some of the "portrayed" girls were aware that they were being photographed, no scene was prepared in advance and all of them collaborated selflessly.


 



 
















 




















 



 









 










 

 

REVIEWS


CÉSAR ORDÓÑEZ OR THE INTUITED FORM

To designate the reality, Buddhism uses the word Sunya, which means empty. It is also the name given to the number zero. The observer fills the reality that without their presence would be empty, in the same way that the mathematician can’t work without a number: the zero, a kind of antithesis of a number. The photographer César Ordóñez proposes us an approach to Japanese reality from ashimoto term, which could translate as a part of a foot of a woman who is intuited through the folds of a kimono. But in fact ashimoto is a polysemic concept. It can also refer to the foot, or to a part of the foot. As the same way, the images that shows this artist has many connotations: suggest more than they show, and show just what we need to get an idea of where they come from and where are going the photographed subjects.

Based on the concept of stolen photography and after a meticulous work in Japan in recent years, César Ordóñez get different things. First, create a clear and distinguishable style, and second, to have a discourse that tells us something new, and ultimately, explains a story. We are used that photographers who got their own style. Indeed, this is one of the goals pursued by most schools of photography. Unfortunately the own style, as an ultimate and unique goal, it remains a kind of Sunya, a kind of vacuum, which only the artist can fill with a creative discourse.

Màrius Domingo

BONART nº 104 | JUNE 2008

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SENSUALITIES

The sensuality cannot plot, and this is why the bombardment of advertising images that haunts us daily leaves us more and more indifferent. César Ordóñez went to Tokyo in the hope of capturing a real and natural eroticism. Serene and intimate. Authentic. The series of photographs in black and white and colour, are like a box of sensuality pills. In that images appears women's feet, shod feet and decorated with elegance and fantasy, without falling into the exuberance. Evoking an unsophisticated glamour, a tender and mysterious beauty, next and inaccessible at the same time. There are stolen photographs, but also, many allowed photographs. The authenticity is imposed: each foot has the value also for its imperfections.

María Palau

PRESÈNCIA  (EL PUNT) | 30,03,2008



ASHIMOTO in solo exhibitions

2017   TOKYO ÍNTIMO,  LPBC, Barcelona (SPAIN)                                        
2012   TOKYO ÍNTIMO,  Patricia Conde Galería, Mexico DF (MEXICO)                                       
2011   ASHIMOTO,  Galeria Mediadvanced, Gijón (SPAIN)   
2008   ASHIMOTO,  Festival Emergent 08, Lleida (SPAIN)   
2008   ASHIMOTO,  Festival SCAN 08, Tarragona (SPAIN)   
2008   ASHIMOTO,  Galería H2O, Barcelona (SPAIN)   

ASHIMOTO in group exhibitions

2016   Maridajes XVIII: Tipologías, Foto Colectania, Bodegas Roda, La Rioja (SPAIN)   
2013   Tokyo-Ga 4 forest among us,  Gakushuin University, Tokyo (JAPAN)
2013   Tres projectes. Fotografia,  Galeria Atelier, Barcelona (SPAIN)   
2011   Saint Petersburg Photo Vernissage 2011,  Central Exhibition Hall “Manege”, St. Petersburg (RUSSIA)
2011   Difracción,  Patricia Conde Galería, Mexico DF (MÉXICO)

ASHIMOTO in art collections

AUER PHOTO FOUNDATION, Geneva (Switzerland)
FUNDACIÓ FOTO COLECTANIA,  Barcelona (Spain)

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TOKYO INTIMO | Patricia Conde Galería, México DF | 14.3.2012 - 11.4.2012