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视觉——主宾国影像展(意大利)

来源:中国摄影家协会网       责编:Lee.W       2018-05-11

“视觉印象” 不同寻常的意大利之美

“视觉印象”:作品以热情洋溢的观察和探究的视角构成一个故事,并随之构成整个节目创作风格的基调。

通过本世纪摄影师的好奇、独创观察,该简编(纲要)凸显了意大利作家摄影的当下“个性”---对其文化原创性充满激情和敏感。

“视觉印象”也是一次亲密的旅程,其中,当今的许多作者本人将面对大众,从自身在当代环境和隐私的生活经验、人生起落等各方面,展示他们艺术的成熟臻善,暴露强烈的矛盾以及艺术直觉---作为叙述工具、直觉力工具、以及对世界和自身反思的工具---的无限可能性,从而定义全球化以及社会化。

此次聚集的目的是肯定一种新的语言形式---不那么传统更不具描述性,恢复我们艺术史的深厚根基,作为新摄影文艺复兴时代的意大利人。因此,为了激发新视野,捕捉、保持我们的“大美”,并让所有意大利人都能够理解其文化风格。

人才也因其自身价值、内在和谐的意识而杰出,这可以于他们的日常生活才能中捕捉到,能够展现所有可能的美;所谓“情人眼里出西施”。

在这个项目中,人类的存在占主导地位,我们说它是主角,往往被地方和符号所包围,既具社会性和文化性,当然同时也很虚幻。

当然也会有研究摄影和纪录片,但它们总是“不同寻常”,如报告文学---看起来像是战争场景而实际上却是庆祝、和平场景。

因此,将人生希望和视角结合在一起就能够产生奇迹,前者能让观者捕捉到人生最好方面的这一人性,而后者则具备观察者和表演者的两种观察角度。

有些作家被纳入到当代舞台摄影传统中,同样是借鉴于文学、绘画或电影作品虚构。

其他作家把他们的表现力寄托于他们历史上留下的深刻痕迹、印记,而其他作家则集中于使用建筑形式作为各种建筑动力学或个人救赎的社会表现形式。然而还有一些人,他们用摄影来展示遗址的景观,展示一个正在消失的意大利,就像那种溶解中的地图集。

很明显,有一些作家,他们凭借自身惊人的掌握力或大自然的创造之美,捕捉到了梦境般的风景。力量、勇气和重现,是许多挑剔作者偏爱的艺术表达;它们代表着一种具有表现力的语言,在摄影中一直占据特殊地位。

克劳迪奥·布洛夫拉

“VISIONI” Unusual beauty of Italy

“VISIONI”: works that form a story made of passionate glances and inquiring visions, which is then the underlying tone of the creative style of the entire show.

A compendium that distinguishes the current "character" of Italian author photography, passionate and sensitive with the originality of its culture, through the curious and original look of the photographer of this century.

“VISIONI” is also an intimate journey, in the personal, that many authors today face to show their artistic maturity, ranging from the experiences and vicissitudes of life, in the contemporary environment and privacy, exposing the strong contradictions and the magnificent possibilities that the artistic intuition offers as a tool both of narration and of intuitive strength and of reflection, on the world and on oneself, which comes to define globality as well as sociality.

The intent of this collective is to affirm a new form of language, less traditional, less descriptive, to recover the deep roots of our artistic history, of being the Italians of the new photographic Renaissance. So to trigger new visions that serve to capture and preserve our "great beauty" and make it understood through culture and style, all Italian.

Talents are also distinguished by the awareness of their own value, of their inner harmony, capturing in their daily life solutions of the talent and showing all the beauty possible; it is said that "beauty lies in the eye of the beholder".

It is a project, in which the human presence is predominant, we say that it is the protagonist, very often surrounded by places and symbols, both social and cultural and obviously also imaginary.

Obviously there is also research photography as well as the documentary, but always "unusual" such as reportage that look like war scenarios and instead are scenes of celebration and peace.

So a hope of life, where the viewer captures this humanity in its best aspects, a visual circle where the two points of view, that of the observer and that of the exhibitor, can be mixed to give rise to the miracle of synthesis.

Some authors are inserted in the tradition of contemporary staged photography drawing also from the imaginary of literary, pictorial or cinematographic works.

Other authors entrust their expressiveness to traces, to signs carved deep in their history, others focus their projects on the use of architectural forms as a social representation of various architectural dynamics or as a personal redemption. Still others use photography to show how landscapes of abandonment exist, showing a vanishing Italy, like a sort of dissolving atlas.

Obviously there are authors who have captured dreamlike landscapes with amazing mastery, or the creative beauty of nature. Strength, courage and rediscovery, through the use of their body, are the artistic expressions preferred by many authors with a particular critical conscience; an icon of expressive language that has always reserved a privileged role for photography.

Claudio Brufola


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