Tu....tuu...tu-tu-tu... tu.. notizie da New York... Davide Bramante in mostra nella grande mela... Complimenti! anche la comunicazione allora si veste di "panni oltreoceanici..." Se siete lì... beh che aspettate andate a sostenere un grande italiano!
Superimposition is one of photography’s most fascinating techniques, yet it is used very little. We have seen it employed by the avant-garde movements and then far more in cinema than photography. Naturally, what is most frightening is its randomness, but what is even more surprising is its ability to counter that, to bring out juxtapositions, contrasts, coincidences and correspondences. Then there is also the very topical ideaof “thinking in images”, also letting them work on their own, learning from them, gazing at them, allowing them to speak. On the one hand there’s the effect whereby everything becomes a transparent ghost, like at the dawn of photography when people would move and the extended pose captured only their passage, and on the other there is the astonishing all-over filling in of the image, which conveys the idea of infinity, multitude, and space and time that are entwined and expansive.
This is the image of the contemporary world but, above all, of the contemporary mind. Not just the eye, but the mind: that of Bramante, first and foremost, but also our own.
Some have used this approach as a way to underscore intimacy, a plunging of self, introspection and memory into the abyss. Bramante, instead, is extroverted: he brings us into the journey, cinema, raves, history and personal experience, which I would call intimate after hearing about what inspires his work: often his son and everyday reality.
For him, superimposition and photography itself also represent a “pirate” technology, as he has suggested through certain operations conducted over the past few years, a curious way not only of recalling what he has taken from reality just as it is – ready-made – but also, and more intimately, a way for him to gain experience, in the poetic and dreamlike sense that compels him to say: “Sometimes I mix these things and don’t understand if I’m going backwards or forwards in time and space. I no longer understand if I have experienced these things or have merely desired them. If they have come true or not.” That’s photography.
Elio Grazioli
This is the image of the contemporary world but, above all, of the contemporary mind. Not just the eye, but the mind: that of Bramante, first and foremost, but also our own.
Some have used this approach as a way to underscore intimacy, a plunging of self, introspection and memory into the abyss. Bramante, instead, is extroverted: he brings us into the journey, cinema, raves, history and personal experience, which I would call intimate after hearing about what inspires his work: often his son and everyday reality.
For him, superimposition and photography itself also represent a “pirate” technology, as he has suggested through certain operations conducted over the past few years, a curious way not only of recalling what he has taken from reality just as it is – ready-made – but also, and more intimately, a way for him to gain experience, in the poetic and dreamlike sense that compels him to say: “Sometimes I mix these things and don’t understand if I’m going backwards or forwards in time and space. I no longer understand if I have experienced these things or have merely desired them. If they have come true or not.” That’s photography.
Elio Grazioli
22 settembre- 30 ottobre 2011
Mark Miller Gallery
New York, Orchard St 92 (10002), Stati Uniti d'America - +1 2122539479 - +1 2122025112 (fax)
Nessun commento:
Posta un commento