Exhibitions
Esposizione "The Rise of the Fleeting Moment" by Giancarlo Lamonaca
"Photography is an ideal tool to show the nuances of time, its effects, its consequences, but also its premises. Not the before and after, but the how and why in a presumed simultaneous eternity of events, condensed in an absurd and yet improbable attempt to capture the present.
Giancarlo Lamonaca’s works represent, above all, a challenge to the idea of reality inherent in the concept of photography and open new fronts of dialogue with existence. These are physical and symbolic actions that reflect the allure of legitimate ambiguity. The impulse to record is not enough: the goal is to understand that every realistic element hides or implies something ambiguous, elusive, mysterious. It’s the need to expand and distort the known real world through a conceptual framework, showing how every form of (re-)cognition holds within itself a repertoire of potential and hypothetical imagination.
Following Werner Heisenberg’s aphorism, according to which the artist is capable of 'penetrating reality from within,' we are called to seek what does not exist, the possible alternative, the different face of the world.
It is always somewhat mad to want to surpass the boundaries of the 'photographable.' It means unveiling all the ambiguity of photography, allowing oneself to be impressed by its seductive fiction. But isn't it perhaps the eternal ambiguity or the ephemeral nature of images: to show and hide at the same time, to portray the world and at the same time change it? Even in this cycle of work, everything can be continually observed, reorganized, and recomposed. It’s as if nothing is ever fixed and never really 'seen.' 'It is in this impossible limit of the physical world,' wrote photographer Luigi Ghirri, 'that photography finds meaning.'"
Giancarlo Lamonaca’s works represent, above all, a challenge to the idea of reality inherent in the concept of photography and open new fronts of dialogue with existence. These are physical and symbolic actions that reflect the allure of legitimate ambiguity. The impulse to record is not enough: the goal is to understand that every realistic element hides or implies something ambiguous, elusive, mysterious. It’s the need to expand and distort the known real world through a conceptual framework, showing how every form of (re-)cognition holds within itself a repertoire of potential and hypothetical imagination.
Following Werner Heisenberg’s aphorism, according to which the artist is capable of 'penetrating reality from within,' we are called to seek what does not exist, the possible alternative, the different face of the world.
It is always somewhat mad to want to surpass the boundaries of the 'photographable.' It means unveiling all the ambiguity of photography, allowing oneself to be impressed by its seductive fiction. But isn't it perhaps the eternal ambiguity or the ephemeral nature of images: to show and hide at the same time, to portray the world and at the same time change it? Even in this cycle of work, everything can be continually observed, reorganized, and recomposed. It’s as if nothing is ever fixed and never really 'seen.' 'It is in this impossible limit of the physical world,' wrote photographer Luigi Ghirri, 'that photography finds meaning.'"
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