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Clues photographic memory (3)

Syracuse, Cathedral

Take, for example, the Cathedral of Syracuse, are immersed in full Baroque and suddenly, tac! from the perimeter wall of the left emerge Doric columns.

memory inside things

are there and are incorporated in the walls of the church: Ancient Greece and Baroque architecture, a couple of millennia of living and producing, together, meaning much deeper than that which results from appearances. A meaning that was born as a Doric temple, becomes Byzantine church, is transformed into a mosque with Arabs, it converts into the church by the Normans and so on, until the day trippers noisy today. That is to say that the signs of time, the layers of memory are in things, as a substantial part of them, but we must recognize them.

harmless This evidence is likely to dazzle the eye in excess of vision, such as EA Poe's purloined letter, because it looked "newspaper" is not enough. Faced with this type of external memory need a bifocal gaze , able to settle simultaneously on the past and present, who can see the layers of memory and recognize what is woven dress that covers the reality: the wire of time.

All traces of memory incorporated in the layers of the past are alive and pulsating, and release meaning the issue as a sap, which imbues the next layer and goes back to the surface of contemporary life. Recognize means to prevent fading and indifference that the reality is impoverished parts considerable way.

I think that's necessary to look in a photograph to represent, consciously, a reality that wears its heart. Exemplary in this sense, is the look on things geological adopted by Mimmo Jodice : concentrate both on the present and past, managing to transform ' old into something that is our contemporary

M. Jodice

but also to transform the here and now of our present findings in a for the future

M. Jodice

Yes, because one suspects that in front of the photo, the whole world is a great find waiting to be recognized and collected in an image, aimed at a more or less near future, as he did with the Atget's Paris, the great .

There is, then, another special place where memory is deposited in subterranean forms, genealogical: the face, which will be the subject of next note.

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clues, memory, identity

Ziyah chart, you can Quest for identity

of a different nature, far more dramatic than those described in the previous note Boltanski - are the findings of the grand plan Quest for identity of the photographer Bosnian Ziyah Gafic . For two years Gafic photographer's personal items found in mass graves where they were anonymously buried the victims of the massacres carried out by the forces of Ratko Mladic. Destination of the photo will be the network ( www.Quest.bo is currently not yet active) to be recognized, or rather, to be able to trace the identity of the owners through their missing.

In all this two things strike me. The first is the image (a small sample on September 19 No of Wired, but I also found this English blog ). Formally, it is of still-life compounds with strict simplicity: portraits of humble everyday objects (cutlery, currency, sunglasses, keys, watches, toothbrushes) or emotional (Polaroid muddy or burnt edges and colors that change color to yellow). The choices of recovery are neutral: the view from above, the soft light, without shadows, the background: an anonymous gray panel that is repeated in all images. The same neutral caption: a code that corresponds to the number under which the ' International Commission on Missing Persons lists Ritov & bones and place of discovery. In short, all the devices together to avoid disturbing statement adopted the recognition of the subject. Gafic as if it had imposed the rule laid down rules for the production of photo-identity cards for access to documents: to minimize the possibility of polluting the identity of the subject. I realize suddenly that the proposed changes Gafic photos (personal items) in identity papers of a subject (person) died, that his act is a load of photographic piety and moral strength with where photography is also an instrument capable of giving identity to the world , any one, perhaps not perfect, but still identity, which is essential to memory. Then I asked myself, and I ask those who want to read these lines, how many and what other images, including the billions of photographs taken, they are - even in a metaphorical sense - as many of the world identity, or even attempts to provide a identity possible bodies, faces, stories, gestures, places?

The other thing that strikes me is the place chosen by Gafic for the transmission of images: the network, turned into a huge board on which to hang these tracks, leave something to restore identity, to someone. The deal to share visual information per se is not new. I think, for example, portraits published in the newspapers to facilitate the discovery of all family members soppravvissuti ' Holocaust or, more recently, the panels set up in the huge refugee camps in Zaire, on which the Tutsis from Rwanda fleeing hung photos relatives disappeared in the hope that other refugees, interception, could provide information of any kind. But the thing that strikes me is right here, in the idea that, basically, around the world can be a huge refugee camp and photography, with its practices, not only through the functions of representation, but also seeking lost identity.

In the bottom of all this, I wonder if there is, perhaps, a little 'space groped for a chapter in the history of photography as a story of identity lost or refused (immigrants, refugees, stateless persons , orphans, migrants, minorities and outcasts of every kind ...); or to create a photographic project to be carried through, with a cleaner look, the refugee camp in the world.

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I lost a mountain of memories

C. Boltanski, Personnes (Milan, Hangar Bicocca - Status of the work at 09.26.2010 11:14)

friend and I have to "trace collector" Massimiliano Orlandoni reporting work Personnes of Christian Boltanski prepared for the Hangar Bicocca in Milan (June 25 to September 26, 2010). The French artist of emotion and experience has created a mountain of multicolored dresses accompanied by the sound of continuous recording of heartbeats that Boltanski collected since 2008.

A mountain of evidence of human life, finds dumb people, lives and stories. Multi-sensory experience that is enriched in the last three days when, by order of the author, the audience was invited to "disperse" the work freely taking the garment from the installation, to make them revived.

I helped myself to the dispersion of the work of Boltanski and movement of the memory of those Personnes unknown. I did it by taking two shirts and two sweaters, I did it wondering who are these clothes belonged and to which part of the world comes, I asked where they are now, those people, I did try to imagine such moments of joyful, painful or just a quiet witnesses were the clothes I collected.

But I have also contributed, photographing the installation status at 11:14 of 26/09/2010, to trace a work (memory) meant to be temporary and exist only because of its , "dispersion" in memory of the public. In short, a photo-exhibit, a small "garment" deposited in the net, it revived.