From 23 April 2016
Curated by Matteo Fieni
This research is based on the formal analogy between the graphic motifs adopted by the barcode system and the photographic motifs that can be obtained through a mechanical process. Traceability, control and critical evaluation of computer data are related to the reactions they produce on thought. Economic systems (market), design and landscape (architecture and urban planning), places (consumption centers) are thus completely channeled along the consumerist chain and transformed in their own use.
All this translates into a sociographic approach influenced by the media and virtual panorama, which plays a fundamental role in the contemporary world. The constant remodeling between supply and demand produces an ever faster and more dynamic flow of data, making the present more distant from reality, and impossible to stop. The images are therefore to be understood as a reflection of this physical-perceptual alteration process. The relationship between photographic (optical) manipulation and social manipulation, simulation and concealment of reality is to be seen as a purely artistic analysis inspired by the poetics of science fiction writer Philip K. Dick.
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Hommage to Philip K. Dick
Bellevue, Zürich (CH, 2016)
Lightbox, Lamda print, size 110 x 75 cm
Financial Institute, Oerlikon-Zürich, 2016
Carousel, S. Gilles (France), 2016
Tram station, Bellevue, Zürich, 2016
Financial Institute, Oerlikon-Zürich, 2016
"Barcodes", photography as an abstraction
Barcodes faces from an aesthetic-technical point of view the transition process that brings the essence of an image from iconodule, that is to say venerative, to iconoclast, moving on the conceptual level to focus more on the form than on the subjects tout court. Wanting to make this research analytical, we can talk about a photograph that starts from an architectural / urbanistic approach and, through a purely optical manipulation, sublimates the real by dividing it into its own patterns and transforming the original drawing / landscape into structures mainly of a luminous nature.
It is an "iconoclastic" operation, in the etymological sense of "breaking an image", which suggests an extremely aesthetic mosaic, which makes photography abstract. The process could be defined as “pure documentary uchrony”, since it fragments time, placing it in spatiality. These kinetic simulacra (ref. Baudrillard) obtained in “one take” (ie without the aid of post-production processing), respect that optical / technical unconscious to which many theorists refer (Krauss / Benjamin / Vaccari).
This new research can be considered, for its "paratactic" and "multiple" approach, omnivorous since it incorporates different photographic genres, moving for example from the documentary to the portrait level, to arrive at the study of the motion of bodies (futurism, kinetics) without upsetting one's nature. Barcodes could be considered as a natural continuum of the historical avant-gardes and associated, for aesthetics, with the work of Mario Cresci.