Anthony Bernad: Image with Memory | Literature

first policeman, Anthony Bernad. From 1960 to 2010 I can look at a collection of photographs from 50 professional photographers. A selection of worthy portraits and fashion images from one of the greatest modern photographic histories of our country. Arabé, at the moment between image and image, from Antoni Tápies to Manolo Blahnik, from Salvador Dali to Carolina Herrera, from Elsa Peretti to Oriol Bohigas, it is inevitable that his life in his second work will be indestructible.

Aquest is a book of memories fet d’imatges. With memory – which is always fragmentary, subjective and associative -, photographs are disposed of in the temporal sense, with “a maze of images that unfolds in a zigzaga”, as Bernad puts it, or with an interconnected constellation of records, forming columns of lists that constitute the cultural reforms that avui ens circuscriu. The origins of the issue in the retrospective exhibition that Palau Robert will devote in 2018 under the title Anthony Bernad. North/South/East/West. While the book does mention a selection of color images, maintaining the kaleidoscopic narrative and subtle sense complexes of fashion photography and portraiture. Bernad always engages with artists, intellectuals and exhibitors alike, in a way that brings to the pages of the book a sense of distances and hierarchies.

Antoni Bernad was born in Barcelona in 1944, and began working as a graphic artist in advertising agencies fifteen years ago. But Ben Aviat will decide to bet on the photo. First, he left the couple’s home, in a house that would be converted into a study. Later, in 1966, from Paris he began to build his first professional career. First, fashion photography started taking place in front of our house, and Bernad Hai-Fa found the liberation he was looking for.

Even Franco’s death would restore heroism to the Catalan intelligentsia. Bernad wants to paint a sophisticated portrait of great figures in English or American culture. I wanted to honor them. You are here to represent Joan Miro, Lola Anglada, Josep Pla, Salvador Esprio and Mercy Rodoreda. The personal photos that accompany the book are stories, records, and scenes of the moment they were hurt. The story is already legendary when Rodoreda will demand that the photographic material be burned because he sees a need to photograph it with a lot of tricks, but in the future the photographs will please him so much that they will end in death.

Menes offers only other anecdotes such as the commissary he shared with Loulou de la Falaise, after the model and Parisian socialite had grown up, in a moment of exhilaration, joining the blouse and unpacking the aria of Franco’s Barcelona Colón jazz song. In a few small texts, Bernad was able to adapt us to what was happening in his camera: helping a young photographer who was only fascinated by his own portraits and a respect that I read was impossible. This entry into your photography process is also free from the contacts included in the book. The communication tape is the proof that it was revealed in the small form of Mateix Rodet’s photographs, which allowed you to see the sencera session – these doubts, doubts, careless gestures -, revealed there by thinking and looking at the photographer. It is the most vulnerable and intimate part of a photograph. Page by page, we see Bernad’s life as he studies himself among his negatives: through a series of photographs by the German Siva Mew, the patient model of the self-taught learner, colored by the graphic artist Bernad.

“Hey, there’s a lot of repetition in this freeform book. The characters come from me,” the illustrator warned. I’m sure: Tapis, Blahnik, Bohigas. They have so many vivid pictures of so much life that a pictorial biography could be produced. Arabi, if there is a constant presence in the life of Antoni Bernad’s works, it is that of Antoni Lina: I have already followed it with double illuminations, with the protagonist, with the companion who speaks to the image, with the companion who helps him find the inspiration for a picture. Artist, friend and inseparable companion, Llena Li also must not be pursued by Bernad’s boss – more than a million negatives – as he wants her. One day, when he passed by the photographer, Llena was about to trick Catalonia’s patriot Arxiu into losing him: he was going to save Arxiu in the name of the country.