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Fgcult23, more than a thousand words? Thus photography and architecture redesign space. And reality

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Maria Desol

Urbino – When we hear the word design, many things may come to mind. Philippe Starck’s citrus juicer, Zaha Hadid’s constructions, or even just the Poäng chair. We are rarely led to think about the design of literature and writing.

However, the poet Lamberto Pinotti In a session titled “Imagining Spaces to Write and Live in. Architectural Textual Image,” during the second day of the Urbino Journalism Festival, his talk starts from the “compositional form” of design and writing, along with text and image.

A difficult combination to understand, but the professor of visual poetry explained it through references to pop art Gutenberg Galaxy by Marshall McLuhan, for advertisements from the 1980s until today. “Today, certain advertising environments tend to create a connection with the user rather than show off. This attests to the recovery of the word over the image, the expressiveness of verbal communication. However, at the end of the speech the poet seems to decide the triumph of images over words.”

Pictures above words

About this proposal they spoke at the event I organized Urbino Festival of Cultural JournalismJournalist Michelle SamergiasiArchitects Stefano Prachetany Luca Molinariinterviewed a managerIssia Urbino Jonathan Perini.

PeriniBased on the relationship between literature and image, as described by the professor Bignottiguests are asked to focus on the relationship between limited space and photography.

“to Bruce Chatwin “Being a traveler and a writer are the same thing.” – Michele Smargiasi

Tells Michelle Samergiasi Chatwin “once told his friend, an art historian, Jonathan Hope The copious account of his last journey when Hopes He asked him: Can’t you just show me a picture? Chatwin didn’t take it well.”

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Smargiasi uses this anecdote to understand how photography can instantly become a “memory of space,” while it can take words more than just a moment to achieve the same result.

Hence the long story of the unfulfilled promises of photography in the nineteenth century. I braggedborrowing words that Roland Barthes He writes in the article The bright room. A note about photography“Photography makes the past appear in the present,” he says.

The relationship between space and photography is functional. Photography is the memory of space. We understand what and how many limitations this tool has when we look at a photo taken years ago. The feelings certainly cannot compare to what we feel physically when returning to the same place.

Disappointing expectations. Travel photos

Photography promised us something it could not deliver, according to Smargiasi. It displays only thumbnails of the world, simplifying the complexity of nature and reducing it to pocket size.

It is also true that there is something wonderful about the miniature. “In front of the small shots we feel like Gulliver in Lilliput, like a child carrying a toy,” says Smargiasi.

also Luca Molinarion the same suggestions, points to the antecedents that led to travel photography: the views of Venice CanalettoAs is known, the painter used an optical camera, a kind of predecessor to the camera. Molinari He reveals an interesting fact: Canaletto did not paint the real gun, but rather the dream gun, very realistic but only plausible.

Each reading is in its fragments

The medium of photography is the main tool of the exhibition “Fragments and whole” Which Luca Molinari Prepared in collaboration with Jonathan Perini And with the director of the National Marché Gallery Luigi Gallo. The exhibition documents and illustrates the transformations, processes and spaces of Palazzo Ducale. This collection of images allows you to browse the building as if it were a book.

Luca Molinari He therefore hopes to return to a more in-depth knowledge of places, which should be studied “fully”. “After all – P.S Molinari We experience architecture from the first to the last day of our lives. Through the exhibition held at the Ducale Palace, he tried to convey an objective reality, which everyone then reads in their own way to find a part of themselves inside.

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Different meanings of space

Stefano BracettiDirector of Communications National Marche ExhibitionHe draws the threads of this interesting encounter by identifying the meanings of space, which, as emerges from the multi-faceted encounter, can be a dream or real, and can be minimized.

The first description is that space is useful and necessary, as an element of place in work. The second is the space under the guise of the symbol. Here remember Symbol – place From the throne room of the Palazzo Ducale which with its 13-meter vaults has a symbolic function to indicate the power and greatness of the Duchy of Montefeltro.

The final meaning of the space that Brakiti Referring to is evocation. It is not just a work space and a symbolic space. Space can become what we see by observing it.

From the ideal city to the ideal reality

He concludes that the latter meaning can only be postponed Brashettito the masterpiece kept inside Duke’s Palace The ideal citywhere the three elements of utility, symbolism, and evocation are added to create a perfect architecture.

The creation of the ideal city finds a direct descendant in ideal reality. Augmented, virtual, 3D, immersive, 21st century. The great weariness of real, interactive and material reality has given rise to a perfectly reasonable and ideal reality. To resort to the world of images. Thus photography becomes a door to escape from reality.

Reproduction of images and bulimia

But to close this circle, the images and realities they evoke have taken and come the long road of iconic consumerism. We live in a period of saturation in which images lose their subversive power, in which he says: Michelle Samergiasi“Photography is the neutral gaze that freezes reality.”

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