Beyond, in silence: About Marco Mazzoni’s proposal

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.
 
 

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Submerged: A dialogue with Salvo Bombara

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…
 
 

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Open key: A dialogue with Fred Drouin

With: Juan Pablo Torres Muñiz

  

Components. And a whole that goes beyond. The final image takes shape thanks to a process that goes behind the hours, as well as the distance that separates us. Happily, Fred’s voice is strong and clear.
Within each picture, we say, materials and references come in, with the light or, rather, the lights of the one who proposes the vision.
 
 

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Like a broken mirror: A dialogue with Clara Conlan

With: Juan Pablo Torres Muñiz
 
The final image, the work of art, forge of light. Indeed, the artisanal work consists fundamentally in the manipulation of this. Art makes its way from the experience of such manipulation, and goes further. It compromises, incidentally, although in a particularly significant way, the darkness, and how much will remain so, in the mystery.
Clara Conlan knows this well. Her work says a lot about it.
 
 

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An unusual crossing: A dialogue with Mark Heine

With: Juan Pablo Torres Muñiz
 
Immersing…
Mark Heine. A complex body of work. While for a bad observer it displays predominantly an exceptional technique, in true it shines with its peculiar manner of challenging things from the perspective of an illusion of suspended time. Thus there’s, for each stroke and each touch, an intention.   
At play is the subject of the own identity, for example, and of the levels of consciousness; and of the interaction with the environment. Though not as a provocation, but as an invitation to immerse oneself, maybe in dreams.
 
 

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The reverse of the shadows: A dialogue with Judith in den Bosch

With: Juan Pablo Torres Muñiz
 
Instead of just a dark atmosphere, it’s the lighted one that surrounds us between the artwork… different. Would it be, perhaps, the reverse of the reality that we usually recognize during our daily bases? On it’s own way, maybe lit up. An atmosphere of specters, not of absent bodies, but of shadows that we have in front of us; therefor, projections, of a different level…
Here’s Judith’s proposal…
She comes along with us. Goes and observe around, like paying attention to the stimulus that are provoked by the scenery…
 
 

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