EXHIBITION OF CONTEMPORARY PHOTOGRAPHY
I personally consider the Fotodinamismo of Bragaglia ofextreme modernity to a new vision of reality that escape theperception of our eye. It’s a different way to aim the vision on reality. The contribution which received expressive evolution of photographic production was undoubtedlynotable. It’s for several years that I share a particularenthusiasm for finding Bragaglia and I consider it essentialto continue to experience the dynamism in an exhibitionproject.
The goal then, is to develop only with the aid of digitalcamera, that is without any other manipulation, alteredvisions of reality. Extrapolating from the real scenarios, a different vision of reality. The whole project of photodynamism Futurist is divided into three exhibitions:Urban Universal /Pink Fotodinamismo / Universal Fotodinamismo . Part of the project has been exhibited inseveral exhibition areas experiencing substantialappreciation. In the pages of the articles there isan interesting wrote of prof. and writer Carlo Franza
Multiple representation of the trajectory of motion candevelop an alternation of planes that intersect with lines simultaneously establish a dynamic force and aconsiderable chromatic valence.
In the foreground is filled in with the movement of thesubject in motion, in particular determining capture themultiplication of the template in different sequences. Createin one image a sort of collage of many frames makespossible an iconographic dynamism. The technicalprocedure, previously scheduled, tend to redalterations with a balanced relationship light-exposure timethat necessarily must strive to develop quick pictures senton various and alternate points of view. The composition forowning an appropriate balance must necessarily enclose aneven symmetry. The shot must be uniform,from one diagonal to another , vertical and horizontal lines fromoverlapping create many irregular rectangles. Vertical linesalso contribute to raising the composition that can befurther increased in a position of extreme view from below,while stability is transmitted by horizontal lines. Optimalproportion of aesthetic value can be achieved from vision which is highlighted by the lines projected exceptionally to achieve a desired effect ofoverlap is joined to other points convergent.
CONTEMPORARY PHOTOGRAPHY: not only conceptual but also contemporary
Assisted by an impartial analysis of the major forms ofexpression of the first artistic Vanguards, you can test thebonds of contemporary photography with artisticmovements the first decade of the twentieth century that undoubtedlyremain at the base of what will be then the modern period and then completed with thecurrent contemporary cultural era. It is important to specifythat this highlights the links between photography andartistic movements will be carried out through therealization of cultural belonging to the art movement –issues taken into consideration. Finishing with a further lightplace the example of what I described with my status – art –contemporary; I am not and I do not want to be aphotographer, but I’m an artist who creates artistic projects– perfomaces, installations, painting, sculpture, digital artand photography, and I do not share the absurd rivalriesthat often I read between photography and painting, as wellas I condemn the exclusion of photography in the traditionof Visual Arts as well as quite often I keep track.
The antipittoricità and happy relationship betweentechnology and art of expressive Duchamps philosophymake almost automatic link between photography andDadaism. Duchamp’s argument is extended to all Dadaistsand in particular from Picabia. Dadaist photography appearsto be strongly consolidated through numerous works, one must rememberwhen early Dadaist Picabia depicted even a camera. Thebond photography and Dadaism materializes officially withthe great invention of ready mades processed by Duchampin the early decades of the twentieth century. Briefly itcomfortably synthesize details of ready mades the followingpoints; overcoming the dexterity – exceeding the real with afree handling – the conceptual meaning of the work thatneeds to be handled at the artist’s intuition. The strong bondDuchamp and photography has strengthened the inclusionof the expressive language of photography into theadventure of avant-garde arts which remain the basis for the’ first of modernity and contemporaneity. Also the interest of Dadaism shoot for the technological evolution of the imageis mostly historical, with the determination of thephotomontage that undoubtedly has to be considered thefirst manipulation of an image.