14

Photograph of the ‘Zerlina’ series, 1988

Jorge Molder (b. 1947)


Estimate

2.000 - 3.000


Session

4 February 2016



Description

Argentea edition

26x28 cm em 40x30 cm


Category

Modern and Contemporary Art


Additional Information

In the last forty years Jorge Molder has employed photography in a
very idiosyncratic and singular way. It is said that he is an artist that
uses photography (and not a photographer) by approaching it to the
environments of literature and cinema. By working exclusively in series
— and by employing the series as a structural category that accentuates
the cinematic character of his work — Molder confronts the observers
with suspended narratives without beginning or end. The titles reflect
an evocative role — they work almost as clues in a crime novel. We
can also emphasize the obsessive interest with the practice of selfportraiture
or self-representation. His face, his hands are used to stage
small fictional episodes which also employ props associated with cinema
and, in particular, to some genres such as film noir and slapstick comedy.
The photograph presented is a replica of another one by Paul Outerbridge
(1896?1958) dated 1922. This photographer was a decisive influence on
the work of Jorge Molder. The title of this photographic series, Zerlina,
can be a reference to the text ‘The Maid Zerlina’ integrated by one of the
leading figures of modernism, the Austrian philosopher, Hermann Broch in
the romance The Innocents, published in 1950.
Amongst Jorge Molder’s recent solo exhibitions we can include: ‘Rico
pobre mendigo ladrón rei capitão soldado ladrão’, Círculo de Bellas
Artes, Madrid (2015); ‘Rei capitão soldado ladrão’, Museu Nacional de
Arte Contemporânea – Museu do Chiado, Lisbon (2014); ‘Jorge Molder:
A escala de Mohs’, Museu da Eletricidade, Lisbon (2014); and ‘Pinocchio’,
Chiado 8 – Arte Contemporânea, Lisbon (2009). Molder represented
Portugal at the 48th Venice Biennale (1999) and the 22nd São Paulo
Biennale (1994).



Closed Auction