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gaze wandering

Dear Dorian, Shanghai

inaugurate the new year with the message of the Blog of the photographic exhibition of Dorian Cara (nomad look. Meeting with people and countries) which will open Saturday, January 15 the House of World Cultures in Milan. It 's a message that I do with great pleasure not only for the bonds of friendship that bind me to this photographer and art historian, but also the reasoning (On nomadism and restlessness of the photographic gaze, a certain way of doing travel photography, for example) that the gestation of the show has brought with him. For this reason, reported here in full, the text of the presentation written for the occasion, with a commitment to develop their ideas in a more organic way in the coming months with the help of those who want to contribute to this dialogue.



a tireless mobility exists in the look ahead to the things of the world. Our visual perception is, in fact, 'samples' continuous (alternation of eye movements, short breaks, head movements and the body), except that most of the time we interpret the perception of a scene as a stable and continuous if, instead, is a series of 'views'. In other words, look not the result of a glance, but a set of very numerous shots of an eye constantly on the move. What we are not always aware of which, except for the photographer, who is aware of this ceaseless movement, this perception vivid and vibrant. An awareness that makes the difference between the everyday look and a photo, and upload it to a restless dynamism, the attempt to find a delicate balance of contentment fact, harmony and meaning. And 'the vocation of the nomadic look Photograph: a mixture of curiosity cabinet, restlessness and fear that formal boundaries of missing significant portions of the world. It 's a nomadism which ceases only when, suddenly, the endless images possible, appears in the viewfinder where everything is in place and makes sense.

these nomads of the eye is the perspective taken by Cara Dorian in his images, not so much for the variety of places (the photographs were taken on four continents), but for a dose of restlessness that drove him to continually seek connections between the fragment (the image "where everything is fine") and the set (the context beyond the boundaries of frame). Dear Dorian was able to take an open view of the nomadic more receptive and responsive, always listening and for this reason, respect for others and their culture. With this look, the photographer has made every shot in a meeting of knowledge and understanding, was able to avoid the "wonderful at all costs" which features - too often - travel photography in order to concentrate on Man, his gestures and History shows that you can still take pictures while respecting the uniqueness of places and cultures and to collect, so the gifts the world offers us.

of this connection and shows the sensitivity of this item is clearly visible in the layout the stand, where in each panel, you can watch the ongoing dialogue between key image, the cultural context and the particular counterpoint text, halfway between the caption and the travelogue.

Mysore Malli Watch Online

Photographer passive / active photographer photographic memory

Ghirri said Louis, in the course of his photography classes , that " the photographer no longer has a passive role , a performer, but also becomes a designer, a person who participates in the drafting of a communication project in the sense understood much larger than in the past ". Ghirri words which indicated the collective work made by photographers and writers and merged with Explorations on the Via Emilia .

Ghirri In these few lines could clearly define what it meant to him doing photography and a photographer . On the one hand, the photographer passive, to act as executor and the other, the photographer, designer whom he named, for reasons of symmetry, focus.

With this idea in my head I tried to reflect around this strange pair of opposites and in the end I found myself in his hands two lists that show what might be the characteristics of the active photographer and the photographer as passive.

Photographer person (or player)

It 's the casual photographer, collector, holiday, Sunday (intensity and spirit, not by availability of time: great Mario Giacomelli photographed only on Sundays). It 's the only photographer who shot the episodic, like a solitary word, dropped in the silence of a walk. It 's the photographer who does not seek his own voice, and look, but is limited (he insists) to reproduce photography charges proven, safe and approved. E ', in short, a mere executor of the gaze of others : his eyes, the reality is a score that does not belong. And 'the music of someone else.

Photographer active (or designer)

It 's the photographer who collects images to build their own sentences, which has a syntactic awareness of what he is doing, that is: look , selects, reproduces, pages, size, approaches. In other words: up.

The photographer designer, for example, for a portfolio shoot, snaps pictures with which other thinking the photo of that moment can speak; triggered by sensing what other image should be sought.

The photographer, designer, active, is not limited to this, but is projected continuously in a hypothetical installation of their work. The shot of the photographer is no longer active "enforcement" because it becomes director of his own personal layout and representation of the world.