ALESSANDRO IMBRIACO STATIC DRAMA

Things seem to be happening and involving the writer. Late night conversations is the first in the series of exhibitions curated by Alessandro Dandini de Sylva in his role as the curator-in-residence at the Pastificio Cerere Foundation. Blurring the lines between truth and fiction, photos of a group of shacks on the outskirts of Johannesburg harbor a motley assortment of inhabitants, where a remarkable number of birds fly free. More pictures from Paris shortly on My London Diary. The new style came to be called documentary. The indefinite form of the smoke captured by the shutter, like the explosion of milk from its container in Milk , is a reflection on the language of photography and the role of water as a photographic archaism.

The democratic eye that places each aspect of the visible world on the same plane, the narration of that which is unfinished, and the accumulation of signs that man leaves in the landscape are the elements that continue to transform their photographic practice into an existential approach that questions the act of looking and the traditional hierarchy of vision. Palinopsia presents a selection of recent works that pose questions about the state of the art of photography and visual culture that has come to be dominated by the Internet. By means of these images, the artist accentuates the illusionary aspects of photography and draws attention to our perception and to the subject and its countless representations. The title chosen for the exhibition is loosely based on a quote by Cesare Zavattini, a multifaceted figure and voice of Italian Neorealism. She uses art institutions as forums where hierarchical, social, and economic models can be tested and reimagined. In a series of photographs, Imbriaco portrays six private backyards at dusk.

There are simply too many photographs in the world. The democratic eye that places each aspect of the visible world on the same plane; the narration of that which is unfinished; and the accumulation of signs that man leaves in the landscape, are the elements that imbricao to transform their photographic work into an existential approach zlessandro questions everything about the world.

Specifically, aldssandro two subjects are moving out of the foreground to face the horizon. The studio based practice, with its static elements and controlled conditions, has become the perfect breeding ground for experimenting and creating new aesthetics.

Eliminating any spatial or temporal markers, and constituting a kind of taxonomy, his images individualize a series of elements that articulate a process of knowledge and interpretation of the world.

  BEAVIS AND BUTTHEAD BUNGHOLIO LORD OF THE HARVEST EPISODE

Rachel de Joode is a Dutch multimedia artist who redefines the limits of photography and sculpture through sculptural photography and photorealistic sculpture. Fragmentary notes from elsewhere, the texts are rrama intimate and distant.

Harlem Studio Fellowship – NYC

If ten thousand people on Flicker say your photo s are coolthere is a democracy there that Mr. The abstracted forms explore our complex material relationship to landscape. Its heretical I know to say this.

You see, a document has use, whereas art is really useless. The exhibition is accompanied by a transcript of short interviews with photographers and designers, as well as various objects.

Every week for a month, from March to Aprilthe blog has shown unprecedented points of view and new shifts in contemporary photography for a natural introduction to the reading of the Festival. And the light — the light is beautiful. The connection you suggest is very interesting because it can amplify the effect of this photograph in the way that you indicate, supporting a fluid intelligence of photography, the idea that the image is formed in water and is developed, fixed alessanrro washed in the same liquid.

The scene, however, would not have changed; it is me who would see it from a different viewpoint.

Alessandro Imbriaco | Harlem Studio Fellowship – NYC

The paradox of photography makes it possible to go into depth without abandoning the surface. HSF residency program for international artists — official website www.

Leave a Reply Click here to cancel reply. You both use large format cameras. The title chosen for the exhibition is loosely based on a quote by Cesare Zavattini, a multifaceted figure and voice of Italian Neorealism.

A new generation of artists are dedicating themselves to still life photography, renewing its language. Observed as literary topoithe environments are represented as archetypal stages of possible domestic dramas.

The photographs of Fleur van Dodewaard, at first so simple and essential, are unexpectedly complex, leading the viewer to question what he’s looking at. In contrast to the tradition of street photography of the 60s and 70s, in which one shot contained all essential formal elements, Paul Graham investigates the nature of this genre and its own limits by taking two, sometimes three pictures, a few seconds apart, varying them in point of view and focus.

  LEA I DARIJA CIJELI FILM ONLINE

But above all, s Italian photography shows close continuity with the great Italian neorealist film movement. Now, our gaze turns to that endless moment capable of self-representation and self-determination. Here I can quote a passage that perhaps expands on what you hint in your question: Szarkowski, Looking at Photographs.

Born in Salerno Italy inImbriaco currently lives in Rome. In each carefully composed picture, full of references to Japanese commonplaces and connotations, the viewer discovers a hybrid of both countries; a tiny Mt. Perhaps the fact that photography gives us the impression of having shown us everything of the world that we inhabit can give us the freedom to start imagining everything anew, to draw maps starting from any point, and to start losing ourselves in an unknown geography again.

But it can also be an answer to the search for meaning in this series of pictures and above all the quest for a new direction in the work. Lo zuavo scomparsocurated by Marco Delogu.

Alessandro Dandini de Sylva

The inclusion of covers, inserts, first dummies and inspiration emphasizes the process of creating a photography book, as well as its collaborative nature. Artists such as Cesare Ballardini, Cesare Fabbri, Jonathan Frantini, Marcello Galvani, Francesco Neri and Luca Nostri, who attended his lessons in Ravenna or Venice at various times and frequented his home and studio in Cesena, have projected the interest in the marginal landscape into the new millennium as an occasion to reflect on the nature of photography.

The crisis has been a permanent condition for some time now; once a breaking point, a line of demarcation between before and after, it has become an immanent and constitutive element of our present. At NOt hereshe presents The Kiss. The images collected are extrapolated from their context and reimagined as the pieces of an abstract mosaic, repeated in clippings and layers. Or so I think the exhibition description said, though to me it all looked rather ordinary.

That it is a privilege to photograph.

Author: admin