Si inaugura sabato 20 ottobre la mostra “Special Station” a cura di Progressive Street, collettiva fotografica internazionale.
Vernissage sabato 20 ottobre h18.00
In mostra fino al 9 novembre
Orari:
Lunedì-venerdì 15.00-19.30
sabato su appuntamento
Ingresso libero
stazioni… e stazioni… e stazioni
Come le corti medievali: si fronteggiano un duca e un buffone, delle dame semplicemente sedute in attesa (di che cosa?).
E dietro loro un capitano delle guardie che sorveglia.
E come le architetture di Antonio Sant’Elia, torri e cupole del nuovo Futurismo di vetro.
O come si riversa sul London Bridge di T. S. Eliot, la folla di cui Dante diceva “sì lunga tratta, che non avrei creduto che morte tanta n’avesse disfatta”.
Le stazioni sono ormai nel tempo, tutto il tempo e oltre, l’hanno ereditato e lo prefigurano.
Le stazioni anche immaginano, su quel treno, c’è da bisbigliare, quale romanzo sudamericano o indiano avverrà? Convoglio uguale al treno sull’acqua di Paul Delvaux (sensazioni, illuminazioni, visive, ormai sonore percussioni).
Venti fotografi per questi epicentri, crocicchi, snodi, fissati in ogni dove, nel mondo geografico e fisico: i gesti, prima di tutto, le siluette, le posture. E i volti epigrammatici (se Orazio, il più semplice dei poeti latini, li incrociasse, cosa ne direbbe?)
Stazioni come immensi padiglioni della fiera delle vanità (vanitas vanitatum) che si dice vita: di nuovo, chi sono, dove vanno, cosa stanno pensando, e cosa sognano, quelle figure quasi addormentate?
Stazioni come navicelle entro spazi psichici, il movimento che le fotografie congelano, non è fermo, è solo un secondo del continuum che è spazio-temporale.
E penso con orgoglio anche alle stazioncine in bianco e nero del nostro Neorealismo, compagnie di comici affamati salivano in treno e andavano, andavano… ancora, dove? La domanda che vi siete fatti, o autori di questa impressionante mostra, non è questa? … tale e quale al vostro fotogramma che ci custodisce per sempre… per memoria, affetto, consonanza.
E suprema nostalgia.
Stations … and stations … and stations
Like medieval courts: a duke facing a fool, ladies simply sitting and waiting (for what?)
And behind them a captain of the guards watching.
And like the architecture of Antonio Sant’Elia, towers and domes of the new glass Futurism.
Or as the crowd pours on to the London Bridge of T. S. Eliot, that crowd of which Dante said ‘yes, long treats, that I would not have believed that so much death had been destroyed’.
The stations are now in time, all the time and beyond, they have inherited it and foreshadowed it.
The stations also imagine, on that train, there is to whisper, which South American or Indian novel will take place? Convoys similar to the train on the water by Paul Delvaux (sensations, illuminations, visual, now sound percussion).
Twenty photographers for these epicenters, crossroads, joints, fixed everywhere, in the geographic and physical world: the gestures, first of all, the silhouettes, the postures. And the epigrammatic faces (if Orazio, the simplest of the Latin poets, crossed them, what would he say?)
Stations like immense pavilions of the Vanity Fair (vanitas vanitatum) called life: again, who are they, where do they go, what are they thinking, and what are they dreaming of? Those figures almost asleep.
Stations like spaceships within psychic spaces, the movement that photographs freeze is not still, is only a second of the continuum that is space-time.
And I think with pride also to the black and white stations of our Neo-realism, companies of hungry comedians climbed on the train and went, they went … again, where? The question you have asked yourself, authors of this impressive exhibition, is perhaps this? … such and such to your frame that guards us forever … for memory, affection, agreement.
And supreme nostalgia.
Roberto Agostini
PROGRESSIVE STREET
We are an Art Gallery: streets all over the World, a sight of reality, the eyes of the street. We show the effects of globalization. We are a look at the Globalized World. Photography as ethnography, our ethos is an anthropological, sociological, social vision.
Progressive-Street is an international community of street photographers and photo reporters that mix the art of photography in a multi-faced way to document the effects of globalization through their lenses.
We are focus on the ethnical, social and cultural events across the globe – thanks to our net of high-class photographers that cover areas from big cities to the smallest towns, sharing the places and stories of people that cover endless cultures in this pageant of humanity.
Our strength is derived from the independence of the photographers who become members after a severe process of selection concerning authenticable feelings, identity, ethical behavior and quality about the photography.
We reach a global audience thanks to Progressive-Street’s use of mainstream social platforms.
And now we have our own site where one can find cutting-edge photo- features and articles, plus incisive biographies of the photographers, personal galleries, and how to subscribe to our magazine.
Progressive-Street is a photography gang dedicated to the visual narrative of the street.
We go to the street for images that resonate with compelling insights of the human condition.
We seek images that reflect truths without the slick professionalism of the photojournalist.
We strive for an authenticity that is uncompromised and yet aesthetically beautiful.
We respect tradition but are not afraid of the currents of change. We are truly international in both our background and in our purpose.
We are Progressive-Street.
Progressive-Street is a “gang” of international photographers looking at the other side, yes, but it is in this world.
Alexander Mercado, Alphan Yilmazmaden, Batsceba Hardy, Davide Dalla Giustina, Fabio Balestra, Gerri McLaughlin, Jinn Jyh Leow, Karlo Flores, Kevin Lim, Lukasz Palka, Marion Junkersdorf, Mark Guider, Michael Kennedy, Niklas Lindskog, Orlando Durazzo, Peppe Di Donato, Robert Bannister, Siddhartha Mukherjee, Stefania Lazzari
