“Inhabited depths”, […] which is an area of our mind in which people
are hanging in the balance between faith and thought, consciousness and suggestion.
Event info:
DATE: From 14 to 30 April 2017
INAUGURATION: 06:30 p.m.
LOCATION: Photographic art gallery Fototeca Siracusana
ADDRESS: Piazza San Giuseppe, 2 (Siracusa)
TIMETABLE: Tuesday to Sunday 05:00 p.m. / 08:00 p.m. – Closed Mondays
ENTRY: Free
TELEPHONE: +39 347 42 18 241
E-MAIL: fototecasr@gmail.com
WEBSITE: http://www.fototecasiracusana.com/
EVENT LINK: http://www.facebook.com/events/1452229764809347/
INHABITED DEPTHS
PLACES OF MIND
by Gino Carpi
Alessandro Fronterrè, a young artist photographer, ventures upon “the abyss of the unconscious”, through a series of “radiographies” which constitute the exhibition-report “INHABITED DEPTHS”: the project consists of thirteen images which are not only photographies, but also art creation related to the photo-painting. The exhibition is about insight visions, the visual representation of the darkest areas of unconscious, surrealist visions. They are the creation of places in which the “matter” is only a support, a “springboard”, and has value and importance only if it is in relation to its obscure, intangible, mysterious impalpable side, the spiritual side.
At the end of the XIX century, photography starts taking two different paths, on one side “symbolism and metaphor”, which is the symbolic representation and, on the other side, “realism” that is the recording of pure reality. This difference between production and re-production is fundamental, as it lets us understand the aesthetical and creative universe of Alessandro Fronterrè. “Inhabited depths”, the name of the exhibition, brings us to a “no place”, which is an area of our mind in which people are hanging in the balance between faith and thought, consciousness and suggestion. The off-camera images are immediately put in comparison to the painting, with the explicit purpose of realizing a sheer symbolism. Alessandro Fronterrè in his work uses the digital medium as a modern and poetic language, in which the symbolic value represents the constant need of “objectification of the unconscious”, anxieties and distresses of the modernity, evoked through the psychology of the forms and the use of the light as an expressive and aesthetic mean. There is no wastefulness, no display of formalism, excess of something; from the impersonal depths of the black , “things” are emerging whose criteria reveal the identity ad personam, the represented physicality and the intrinsic relationships with the artist’s artwork.
To Alessandro Fronterrè, photography represents a meditational instrument, as it has been defined by LyleRexer (The edge of the Vision), a search for answers on the great mysteries of the human being related to the man-spectator, subject of the perception and interpret of his work. Despite the sensation of confusion and unreality, the work of Fronterrè is able to attract the observer, to drag him into an irresistible contact, inside the deep, evoked atmospheres, which reminds to prenatal states, to unexplored levels of our subconscious. The dark sceneries, which are physically and not metaphisically intended according to our experience, constitute the fil rouge of “Inhabited depths”, the stimulation, but also the great obsession.
Nowadays, we are used to this kind of conceptual evolutions. In fact, the history of photography shows us Man Ray’s creative prospective of the rayogram or Moholy-Nagy’s suggestions about the pictorial aspirations of the photogram. The abstract tendencies in photography seem to be between the idealized images of the origins and the “melancholic objects” of the surrealism and moreover, on the analogous investigation of the “poetry of the matter”, trying to get over the prejudice that photography is more realistic than other artistic techniques. And even today, even if only in an unconscious way, it is generally thought that the work of the painting artist has to be considered in the logic of the “art”, while the immediate image of photography, both chemical and digital has still to demonstrate its artistic relevancy. “Inhabited depths”, the artistic project by Alessandro Fronterrè, has nothing to demonstrate. It is what it is. It tells about the man, it gets him involved in his spiritual and material nature, Natus mori (Born to die), Vechnyi dogoyor (Eternal deal) or Alla nur (To the light) are not only the titles, simple tags under the artworks, they are a summary of the ancestral code books to the passage to a higher level of perception, towards which art conducts people, and drag the observers into an emotional path beyond the physical and objective nature of the image, toward “Inhabited depths”.
Through the titles of the artworks Fronterrè shows the way, he clarifies the inseparable bond among process, form, language and reality. Different languages which highlight the artworks leading to an use of a code against conventions, on the great mysteries of life, on the epistemology of art intended as a constant search for truth.
That is why, according to Orson Wells, the true mystery of the world, is in what we see and not in the invisible.
The entry is free.
(The exhibition will be followed by the readings of some poems by the author and performed by the actress Lalla Bruschi).