O fotógrafo dos escritores perde seu acervo

Sylvia Colombo

Certa vez, quando foi fotografar o escritor argentino Adolfo Bioy Casares, ao lado da cama do autor, em sua casa, este lhe disse: “A eternidade é uma das raras virtudes da literatura”. A frase ficou na cabeça de Daniel Mordzinski, 53, fotógrafo argentino radicado na França que há trinta anos se dedica a retratar escritores em situações fora do convencional. Em suas imagens, vemos o israelense Amos Oz parado no meio do deserto, o argentino Andrés Neuman deitado numa mesa de bilhar, seu compatriota Ricardo Piglia posando entre cabides, Zélia Gattai com uma coleção de imagens religiosas, o mexicano Juan Villoro cabeceando uma bola de futebol, Federico Andahazi saindo de um táxi e inúmeras cenas inusitadas.

Mordzinski começou a fazer suas chamadas “fotinskis” em 1978. Tinha apenas 18 anos, sonhava ser escritor e estava buscando oportunidades. Até que Ricardo Wullicher, produtor e amigo, o chamou para acompanhar a filmagem de “Borges para Millones”. Mordzinski, então, teve a oportunidade de fazer a foto acima, na qual temos o célebre gênio argentino mirando o horizonte. A partir daí, Mordzinski começou a se dedicar a fotografar escritores, tendo como objetivo, um dia, reunir um grande atlas da literatura latino-americana e espanhola.

Lendo e, principalmente, escutando os autores, passou a inspirar-se. Foi assim com o peruano Mario Vargas Llosa. O autor de “Lituma nos Andes” contou em uma palestra que sempre desobedecia sua mãe quando ela lhe pedia que apagasse a luz para dormir. Ele, então, acendia uma vela e seguia lendo. Mordzinski não teve dúvidas, naquele mesmo dia comprou uma vela e apareceu no quarto de Vargas Llosa, no hotel, para reconstruir a cena de sua infância. O resultado é a foto acima.

Há escritores no banheiro, outros em suas camas (Gabriel García Márquez), sem roupa (Wendy Guerra), quase irreconhecíveis no canto de alguns quadros, ou retratos escancarados, meditativos, poses naturais e armadas. Nas últimas três décadas, Mordzinski viajou por vários países, presenciou inúmeros festivais, principalmente os Hay de Cartagena e Xalapa, e tirou inúmeras fotos.

Após ser correspondente de guerra no Oriente Médio nos anos 80, Mordzinski se instalou em Paris, onde é correspondente do jornal espanhol “El País”. Ali, num escritório do jornal “Le Monde”, guardava os negativos de toda uma vida de trabalho. Pois o diário francês acaba de destruir, por acidente, seu acervo de mais de 50 mil negativos. Ao desalojar a sala para destiná-la para outro fim, o trabalho do fotógrafo foi quase todo para o lixo.

Desesperado, Mordzinski escreveu para outros jornais e em seu site, pedindo uma retratação, que veio após algumas semanas. O fato ganhou ampla repercussão em cadernos de cultura de todo o mundo. E Mordzinski foi defendido por toda a comunidade de escritores, muitos jornalistas e articulistas. O que se perdeu para sempre, porém, foram suas fotos. Por sorte muito havia sido publicado, e pode ser visto também em seu site www.danielmordzinski.com, mas o sonho do atlas das letras ibero-americanas ficou mais complicado de cumprir.

 

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