JOHN LONDONO

Echoes of the Disposable: A Philosophical Introduction

In the silent realm of photography, where images speak without words, we find ourselves confronting the profound sense of voicelessness. Each captured moment, devoid of sound, mirrors our own struggle to be heard in a world increasingly marked by dehumanization. The series "Echoes of the Disposable" invites viewers to immerse themselves in this silent dialogue, where fragments of our contemporary existence are meticulously collected, revealing the stark contrasts and the unspoken narratives of our times.

The word "Disposable" not only reflects the transient nature of our society but also serves as a poignant commentary on our relationship with the self, with others, and with our environment. In an era where disposability is omnipresent, from products to human connections, this series challenges us to rethink our values and the consequences of our choices. The images printed on PVC, an advertising medium here symbolically “elevated” to an art medium, is synonymous with throwaway culture, and further emphasize this theme, provoking a reflection on the superficiality and impermanence that pervades our daily lives.

Through this poetic exploration, "Echoes of the Disposable" also dreams of a more natural and harmonious existence. The humans of the series yearns for a return to authenticity, where relationships are nurtured, and our connection to the world around us is cherished. The dream-like quality of these images serves as a beacon of hope, a vision of what could be if we chose to prioritize human dignity and environmental stewardship over relentless progress and efficiency.

Moreover, the series pays homage to the lost art of analogue photography, juxtaposing it with the convenience of digital production. This dichotomy speaks to a deeper sense of loss—the loss of the tangible, the physical object of photography, which once held a presence and permanence now seemingly discarded in favor of the ephemeral digital age. It is a commentary on how, in our pursuit of modernity and sustainability, we may have sacrificed something inherently valuable and irreplaceable.

The notion of "disposable" also echoes (!) the ephemeral nature of time and of our existence. Photography in this series becomes an act of capturing and collecting fleeting moments, freezing them in time as a way to extend the life of these ephemeral instances. In doing so, it challenges the very concept of disposability, offering a way to preserve and reflect upon the transient beauty and significance of each moment, making the impermanent enduring.

Disposable: A Philosophical Reflection

The word "disposable" has become a ubiquitous term in our modern vocabulary, often evoking images of single-use items, convenience, and a culture of waste. Yet, if we take a moment to deconstruct the word, we uncover a fascinating dichotomy within its structure that speaks to deeper philosophical themes.

Dis-: Rejection and Separation

The prefix "dis-" carries connotations of rejection, separation, and negation. In the context of "disposable," it implies a casting aside, a distancing from that which is no longer deemed useful or necessary. This aspect of the word speaks to a broader existential theme: the human tendency to disengage from that which no longer serves immediate needs or desires. It highlights a transient relationship with objects, people, and even ideas—a reflection of a throwaway culture that prioritizes the new and the novel over the old and the enduring.

-pose: To Place or Set, Neutral

Embedded within "disposable" is the root word "pose," which means to place, set, or position… but the word also carries connotations of pretending or adopting a stance. This root word invites us to consider the act of positioning or situating oneself in relation to the world. To "pose" something is to give it form and context, to acknowledge its existence and its potential role. Within "dis(pos)able," it serves as a bridge that transforms the initial negation into a form of presentation or existence.

-able: Capability and Openness

Finally, the suffix "-able" suggests capability and potential. It denotes an openness to action, a readiness to engage or employ. In the context of "disposable," it introduces a paradox: the very items we deem ready to be discarded possess an inherent potentiality. They are, in essence, "able" to be disposed of, yet this capability also implies a latent value and a possibility for transformation or reuse that is often overlooked.

The Junction: Dis and Pose in "Dispose"

The junction of "dis-" and "pose" in the word "dispose" reveals an additional layer of meaning. In several languages, including French, "dispose" carries a sense of readiness and openness. It implies being available or accessible, highlighting a potential for engagement rather than mere rejection. This interpretation enriches our understanding of "disposable" by suggesting that what is disposed of is not merely cast aside but is positioned in a new context, one that may invite future use or re-evaluation. This nuance underscores the idea that disposability encompasses both separation and the latent potential for new beginnings.

The Dichotomy: Rejection and Openness

By deconstructing "disposable" into its constituent parts—"dis," "pose," and "able"—we uncover an intriguing opposition: the act of rejection intertwined with the potential for openness. This duality prompts us a reflection on how we might balance the necessity of letting go with a mindful appreciation of latent possibilities.

In a broader philosophical sense, this reflection invites us to question the nature of value and the criteria by which we judge usefulness. It challenges us to look beyond the surface of disposability and to recognize the potential for renewal and transformation that lies within every object, relationship, and idea we might otherwise discard.

WHAT STANDS BETWEEN US  by Samuel Mercier

This photographic series is a work of exile by Canadian photographer John Londono. For years, Londono has been a Montreal-based photographer ingrained in the local alternative and musical scenes, photographing celebrities as well as underground artists and musicians, before moving to Berlin in the early 2020s.

In ECHOES OF THE DISPOSABLE, Londono’s darkwave inspirations can be seen through the lenses of German Expressionism and Romanticism. The darkness and christic figure opening the series convey a sense of Vernichtung, a dream-like feeling echoing romantic poets such as Jean Paul Richter. German Romantics were inhabited by a sense of incomplete revolution, in which industrialization and overwhelming technological Progress gave the impression of a fast-moving world, while personal and social relationships were by no way improving as quickly. This sense of alienation and incompleteness inhabits Londono’s world, where hypermodernity and capitalist realism have taken 18-19th century romantic angst to new heights – destroying both the World and our ability to love and care for others.

Most of the pictures in ECHOES OF THE DISPOSABLE, with their dark and grey expressionist lights, are inhabited by a sense of estrangement, an inability to build common spaces while the space between individuals is constantly divided by abstract boundaries and fractures. The loneliness of human bodies in the series has to be contrasted with the broken human structures and buildings. While romantics could dream of Nature as a refuge against personal and social destruction, our contemporary existences are plagued by the doubt that even Nature could survive a race for profit that threatens everything, human and nonhuman. Nonetheless, Londono’s art isn’t merely depicting destruction. It is not “ruin porn”. ECHOES OF THE DISPOSABLE is rooted in what political theorist Jane Bennett calls “vibrant matter”. It is an art decisively set after personal and social collapse. “The catastrophe you fear will happen has in fact already happened”, wrote psychoanalyst Donald Winnicott, as a path forward for transformation and repair. This is where Londono’s work, in all its darkness, shows a glimmer of hope, a sense of repair.

What stands between us are the ruins of our times – dehumanization and global Vernichtung – but the human body takes, in Londono’s eye, a near-sanctity. In this, the photographer dives into his South American heritage, crossing religious iconography with images referencing dreams and the night… like a record of a solitary traveller surprised by the urban landscape, fascinated by the poetics of seemingly banal situations. In these aspects, Londono’s work echoes the styles of Venezuelian photographer Ricardo Jimenez and Canadian artist Serge Clement, two key influences in his life as both an artist and an individual sharing these cultural backgrounds. This spiritual outlook envisions a sense of universality, akin to what philosopher Byung Chul-Han sees in rituals. Rituals, according to Chul-Han, imply the existence of a symbolic reality beyond interpersonal communication, a reality that cannot be reduced to mere exchanges. Thus, Londono’s art doesn’t “communicate” in the traditional sense: it doesn’t deliver a personal message to the viewer, but it invites us to look at the harsh and ritualistic beauty of shapes, lights and bodies.

In this, there is hope that the symbolic could drive us out of our isolation, reestablishing a collective sense of belonging in which every human being is cared for, even though they are flawed and hurt. Although it is impossible to completely bridge the gap between us, beauty gives us a sense of the common we share.