Cesare Accetta "03-010"
Few images, but many radiographed and almost instant stop, this could be the label Cesare Accetta "03-010" (Museo di Capodimonte, until November 14, 2010 every day from 14.00 to 19.30 hours; closed Wednesdays). The Neapolitan photographer during his career has gone from theatrical photography backstage , and signed the lights of theater performances and installations (such as Quijote Mimmo Paladino) , photography and film auteur ( The rest of anything , Winter , no quality to the heroes ) .
Title of staff, mysterious-looking, even encrypted, simply refers to the period of commencement and completion of the works on display. This opens with a triptych at the front entrance, transforming the simple act almost dell'accedere in an initiatory path, where you can see a figure, but it ignores - at that time - the total value.
Three photographs, therefore, to immerse ourselves in a different atmosphere, marked by tenacious forms thin and a few colors. Three images in which the figure of a woman - naked, perhaps - emerges from the shadows, unable to overcome it completely, but that stands out and attracts attention of the observer. Even when, in the third frame, the representation is reduced to three synthetic yellow trails. Three paintings (and also central to some sort of affinity speculate) that have a few tens of meters of the original sound that is refined echo, evoked in many small signs, such as the imposing size of the paintings and gilded frame : the art of Michelangelo Merisi condensed in the Naples Flagellation. And in fact this darkness that still traps the figure of a woman is not light Caravaggio, an instrument of affirmation of the figure, which still struggles to defeat the terrifying darkness.
In the second room of this exhibition is realized in a composition of five of the smaller pages. What was dark in the first set here becomes a luminous backdrop of warm colors, the sequence is similarly expanded in time, the individual frame (the image does not just tell a moment, he tells different ) and the altarpiece as a whole. Indeed here the exhaust them chronologically, first characterized by distant figures, it becomes iteration of signs, pendular movement between the first and the last image, dream-like analysis, but much more focused on the person photographed. See again and the quintet is crystallized a sense of being masters of the time, you can choose your own speed, each viewer has its own rhythm, as in Promenades of Paintings an exhibition, Mussorgsky: there is a right Allegro a Moderate very comfortable, a Moderate not so much, and even a Quiet.
at the end of the exhibition is that all the feelings find their own interpretations. Again, three images, this time perfectly defined, of impeccable formal rigor and refined calibration of the elements, projected side by side, in a nearly three-tone black and white, abstracting. The woman - the actress Alessandra D'Elia, muse and an accomplice to accept - is apparently still, sphinx disturbing. Tiny facial movements, subtle breaths through your hair, mixing of frame like a game of three tablets, camera moves forward or backwards, all in a chronological spiral which can not be viewed beginning or end , nor the performance. A loop incomprehensible and without any point of time reference. As in listening to Vexations by Erik Satie, a song composed by themselves thirty-five jokes to be repeated 840 times for a total duration indefinite.
Own Time is therefore an illusion. You are not masters of the time, is totally deprived of his perception, and this is the real terror of modernity. It's no longer instill fear in the darkness of space, as in the days of Caravaggio or the silence that terrified us in the last century, as it has in many ways Antonioni explained, in the twenty-first century is the lack of time references, the dark chronological that annihilates us.
This demonstrates Cesare Accetta and Alessandra D'Elia.
Alessandro Manna
0 comments:
Post a Comment