Uma Buenos Aires que se despede

Sylvia Colombo

A fotografia moderna argentina acaba de perder Horacio Coppola, o homem que registrou as esquinas, os olhares, as simetrias e as modas de Buenos Aires durante praticamente todo o século 20. Aos 105 anos e às vésperas de completar 106, Coppola deixou de ver as transformações da cidade que captou tão bem e por tanto tempo através de suas lentes. Coppola morreu no apartamento da rua Esmeralda que ocupou por longas décadas.

Seu olhar vanguardista, formado e treinado na Europa, entre outros lugares na Bauhaus berlinesa, encaixou-se perfeitamente aos anos de apogeu econômico e urbanístico de Buenos Aires, nas décadas de 30 e 40. De volta à Argentina, fixou-se nas linhas e traçados das ruas, fixando a velocidade de um tempo que se acelerava para o homem local como nunca antes em sua história.

Em sua obra, em boa parte construída com uma Leica, uma movimentada avenida era vista como desafio geométrico, e um velho comércio de esquina, como um resquício nostálgico de um mundo que se despedia, mas que, em Buenos Aires, não parece nunca desaparecer por completo.

Os tipos humanos aparecem com suas novas, reluzentes e modernas roupas urbanas. De chapéus, vestidos e ternos busca sempre o detalhe que demonstra que quem o usa é um ser humano, mas também o modo mais poético de enquadrá-los na cidade. Impossível entender os tipos que aparecem em suas fotos sem a urbe que os rodeia. Parte dos recorridos que fez pela capital argentina foi em companhia do escritor Jorge Luis Borges, seu amigo, que se inspirava para escrever os poemas de “Fervor de Buenos Aires”.

Com Coppola vai-se um tempo e uma geração de artistas e intelectuais como Xul Solar, Adolfo Bioy Casares, Victoria Ocampo, e de uma Buenos Aires extremamente criativa, fervilhante, moderna. Assim como os poemas de Borges, suas imagens são um convite para conhecer essa história.

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