Easy Rag Doll Patterns For Free

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.

Brent Corrigan Regret

Clues photographic memory (2)

Carmelo Bongiorno, Erice

I return to my inventory for clues after a short break in Sicily which provided, inter alia, on further reflection.

pictures intimate memory

In

previous post I mentioned Corot and his memory of places. I wonder: what kind memory has painted? That memory is represented by Corot intimate, private, arising from personal portraits of places. It 's a memory complex to be represented, because wrapped in a kind of opacity that the viewer can not be removed completely. To diminish this leans on the opacity of the representation power evocative image, with the use of scattered clues in order to turn on the intuition of the audience, to stimulate their imagination. Sharpening and color are signs of alteration (among other possible) left to direct the viewer's mind than the apparent surface: indicators of the invisible.

A beautiful collection of these indicators emotional , photographic evidence of memory I've collected in an early work of the photographer Catania Carmelo Bongiorno , Island intimate (1997). In his photographs Bongiorno staged an incredible variety of visual equivalents of the private memory :

- the fuzzy (example: 01. Stretto di Messina ; 07. Cefalù )

- the breaking of the minimum focusing (03. Catania 17. Portopalo )

- the use of highly evocative depth of field, as in intense Erice or 12. Noto. [The numbers refer to that present in the author's website].

All this is then summed up the choice of style, very important, to photograph in black and white , with a renunciation of the accuracy of the color that best results both visually dazzling light of the violence of the South (and its memory) is the sense of distance and elusiveness that each private memory port, unavoidable, in itself.

In this type of memory intimate is a counterpoint to another kind of memory, external, more visible: the fact that many fragments they carry in more or less stratified. Objects, places, buildings, faces and bodies on which they are filed with the traces of time and they live together, more or less visibly. Another type of memory and other types of images, which will be the next post.

(continued)

Maxine Cartoons Birthdays

Clues photographic memory (1) lake

Corot, remember Mortefontaine (1864)

Making photography in the sense of memory? Which signals to use image to represent the intertwining of different times that stratified often live in our eyes? I try to draw, from this post, a partial and provisional inventory visual equivalents to the viewer that indicate the presence of a time "other" than this photo.

Looking for a paradigm

An important example is found in painting Camille Corot (1796-1875). Corot, after painting landscapes en plein air, begins to paint landscapes in the studio, using no more than direct observation, but the memory places. In these "memory paintings" in the title of the sites have a concrete and precise topographic ( remember Mortefontaine; The clearing memory of Ville d'Avray ), but are made using two techniques that aim, however, to achieve a final effect of imprecision, almost the image of instability: the soft focus (or focus "soft"), and alteration of colors. These two are perhaps the way that we might take as initial models for the rendering of visual memory paradigms that photography and cinema have often adopted and still use it. With soft focus the entity and its edges lose definition, with the discoloration (usually a desaturation) is the color of the subject to become unstable, losing clarity, the effect of distance similar to that produced by the gradient of "aerial perspective" already observed by Leonardo.

Quello che Corot ci ha lasciato in eredità, dal punto di vista delle tecniche di rappresentazione della memoria, è il senso di lontananza che il ricordo porta in sé, una lontananza che non appartiene allo spazio, ma al tempo. E ciò che è lontano nel tempo trova una possibile manifestazione visiva nell'imprecisione del disegno e nella inafferrabilità del colore. Un paradigma attivo da almeno due secoli.

                                                                                                                             (Continued)