Book “La La Land” by Chus Antón, edited by Terranova. “La La Land” is the first book of the photographer Chus Antón, but more than a book of photography, it is a travel book. Not a travel guide, but a travel book in the tradition of Petrarch in Mont Ventoux. To travel to live it, to travel to tell it, and above all, to travel to see it. I want to climb that mountain, I want to see it with my own eyes.
Chus is and has always been an incorrigible mythomaniac, so he travelled to Los Angeles to relive his legends, trace his journeys, and feel his presence, his absence, his energy. He needed to break down the barrier between the mental space and the physical space, to capture the scenarios of the collective imaginary in a crude way and devoid of any ornament.
However, when the brutal effectiveness of his clinical gaze dialogues with the texts of Cristian Rodríguez, accomplice and traveling companion along with Lorena Quintana, we discover that the idea prevails over objectivity. An unimportant wall changes completely when we are told that it served as the background for Michael Jackson’s Thriller, or contained the recording of the Stooges’ Fun House, or hid the murder of Sam Cooke.
In an exercise in photographic theory much more relevant than it may seem, La La Land demonstrates that the image is not the same with or without complementary information. Can an idea change an image? Which of the two is the real image? The one that hides the meaning or the one that accompanies it? What is the image without the word? What is the difference between an image and the idea it contains?