By: Lena Marin
Why refer a work that, to our own judgement has no remarkable standing value? What criteria decides the choosing of that work? And first of all what is the point of criticising it?
Are those questions enough to arise doubts about Marco Marzoni´s proposal?
Criticising is done not only in order to guide through new proposals, but also to set a landmark on future critics. These texts, therefor are offered to add sides to the already complex prism which the other, the reader uses to build their own experience on one work or another.
With: Juan Pablo Torres Muñiz
It’s about photography. Of the moment, that’s suddenly, transcendent; how it acquires depth and becomes a kind of prism through which our brightness – knowledge and understanding – is disrupted, changed and expanded.
The more universal the elements that compose the image, the more complex the network of references is, because even if there is a connection with the person who contemplates the work, it is easy to lose it among trite generalities, confusion and common places. Succeeding requires, in any case, consistency in the form, the outline and the tone, all that results in significant silence (a true dialogue space).
Salvo Bombara joins us to immerse ourselves with him. And he says…