In retaining with his study into the methods our habits are altering as we more and more use new electronic systems, this new challenge is a reflection on photography, on its use and on the photographic item. The use of images has now turn into a everyday event, our mobile telephones are full of photos, our photograph galleries are extensive. We choose photographs, normally convulsively, we pay back attention to numerous things at the exact same time devoid of picking them, we acquire information and archive it in a cursory way. In this context it is attention-grabbing to look at the theory described by Roland Barthes in “Camera Lucida.” Barthes describes two strategies in which the “spectator,” the particular person who watches, makes use of the photograph: studium and punctum. Studium is the rational aspect, regarding the wide area of info that we history, it is accompanied by a “sort of imprecise, slippery, irresponsible interest”. Studium is an comprehensive, additive and cumulative form of looking through, it resembles that which we simply sum up with “like” and “dislike”, it lacks just about anything magical. The punctum interrupts the studium, it pricks us, it pricks the movement of information and facts. It has to do with the emotional aspect, it characterises it, that impossibility of defining the sensation of remaining moved or giving it a name.
Barthes calls these pictures ‘unary they get exhausted at the amount of studium, that is they have only details that is simply comprehensible. The everyday hoarding of illustrations or photos, encompassing ourselves with speedy details, hazards making our real truth uniform and of lower symbolic price.
Giovanni Fredi operates in this artificial conceptual plane, which I’ve tried to explain. Using a cell application he’s designed he makes an attempt to give new re-enchantment to some of the visuals in the picture gallery on his cellular cellular phone. That which for many of us is an album of, often too crowded, reminiscences. He does this by touching the pictures, swiping with his fingers on the display screen and preserving the traces of these gestures. The fingertips are applied like the hand of a painter, and it is by means of this brush that he sees, marks and discovers his feelings on canvas or paper. He generates connections, and does so by creating a path: a route that is psychological and rational at the identical time, a route produced up of a set of emotions, instincts, reminiscences and information, leaving a trace. This tapping marks a beginning and an conclude, these unceasing points and lines that cross the area of the phone display screen unite via touching and swiping. At the same time, however, this increment of interest in direction of points coincides with forgetfulness, with a distancing from oneself and an opening to the other. These touches and traces, reflecting the artist’s intentions, take on colour and come to be vector information, photos that can be magnified or diminished devoid of shedding high quality, a specialized element in line with Giovanni’s objective. And it is in this article that the punctum occurs, to use Barthes’ term. The photographs that have encouraged and captivated his consideration in the earlier and in the existing and that are saved in the image gallery vanish from the qualifications, and only the taps, the swipes, the traces, the colours and the magic continue being.
Magic, silence, contemplation, eroticism of the image, as opposed to a pornographic character, are presented as an art object. In the area of SMDOT/Up to date Art five Points materialize, as well as One. 6 objects. 5 lambda prints on an aluminium base, mounted less than acrylic. Right here much too, as in the vector documents, the technical alternative is not accidental, as it helps make it doable to produce chromogenic prints in the very same way as one particular could in a darkroom, recovering the magical course of action that involves the capturing of gentle, but starting from electronic images.
Japan 2020 (Lines — collection), 2020–22, are the title of 3 b/w 100x70cm is effective. These are the only is effective to go away a created trace of their origin: the many others two, both equally entitled Untitled (Lines — collection), 2022, 140𴠼 cm, deliver us with no reference, and neither does Untitled (Strains — sequence), 2022, print on adhesive vinyl, 150𴤬 cm. The purpose is to provoke an enigmatic and silent delight, crafted on existence, on physical get in touch with, on thingness. All these words and phrases and the use of Your awareness and time are in this article to report the impossibility and the renunciation of seeking to describe, with possibly spoken and published language, Giovanni Fredi’s perform “Scrolling amongst pictures” and “Lines—series”. These performs create a new relation with the world and actuality. They try out to produce a new magical and particular person dimension employing modern day devices. They do so as a result of the aesthetics of art objects that can concurrently include the solitary and the several, the variety and the content material, the model and the strategy, in a steady movement that does not neglect the assertion, the rational meaning, while permitting the sensory dimension to prevail. Images is certainly the medium of modernity. Like cinema, its digital dimension has accelerated and facilitated its use, in all probability consuming its symbolic dimension. Remaining current before the functions of Giovanni Fredi—which jealously cover their info, but are full of touches and traces—offers us a gratifying exercising to reactivate our aesthetic skills, based on sensations and our capability to realize attractiveness.
at SMDOT/Up to date Artwork, Udine
till June 18, 2022