Among the few photographs perfect as you can see, it certainly takes these experiments in black and white first Mimmo Jodice. Then, his photography would not be interesting, but agreed it will become perhaps more obvious, as are the photographs of Paris from 1993-1994. They ask fewer questions they have things, with depth, certainly, but the surface is too smooth, too smooth - just things, just things.
In contrast, in blacks and whites of sliced raw images, it is possible purity of form that is exposed and exploded in cuts, tears, clear boundaries between black and white, Black is not anti-light, but light seen differently, and collage, tearing and rejoining.
Collages, decomposition and recomposition that undermine the medium, but do not ignore the subject. What is cache and is what we want to see: the acorn - less than an emasculation veil under which to fix our gaze on the absence, not to show it, which articulates the perception ( Fragments with figure 1, 1968).
photograph of a bar public housing is torn and the torn glued shows that by this artifice the manual way - better, which makes palpable, sensitive to the touch, the sense of the building. This is not an urban landscape, is already an intervention, a deconstruction and a reconstruction ( Landscape interrupted 1, 1970).
Author said, the landscape is empty, useless, non-existent. And that's what makes the photographs later more sad and poor that seems to admit that he has waived his specific view - a view camera - to see more than the naked eye. They will then photogenic, but give up to be photographed (see photo see neither a target nor see with the naked eye).
While in the latter half black half white face appears more clearly seen as simply lets the imagination of those who see the party do not view, derived features seen those who are not, and to this time, perhaps, seeing and thinking are one and the same activity ( Maili , 1966 and Angela , 1966).
While in the latter, multiple mirrors over-sexualized body of woman who could well have an infinite number of breasts, and does not lose the eye as he circulated a point to another and another and another until you return to the first point, a circle that is not actually infinite, but in power certainly (compositions of nudes, 1968). Power of photography again ask who is the author for his self-portrait with Emilio Notte and multiplies faces, double, and reflections. Again, the photograph does not lose the eye, it seems rather educate them in the same time he looks at (Self-Portrait with Emilio Notte, 1972).
And if postmodernism is not the ultimate truth, we must see in this picture of a hand that has written: "Vera fotografia", otherwise the questioning of the medium, the least his question: that photographing is not a given ( fotografia Vera, 1978). We certainly need to go through this path before doing anything else, be more spontaneous, more evident. But to what extent the photographs we take do then does it they are not nostalgic for those days when nothing was radical in itself, when everything had to ask, do not take anything for given, and always redo the medium?
Photo: © Mimmo Jodice
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