Salton Belgian Waffle Maker Directions

The parallel convergences

Sergio Excavations

After electroshock deaf that have infested the walls of the psychiatric hospital diRizzeddu other shorts emerge from those spaces almost forty years dopo.Le photos of the 'anonymous French arrive to assist the asylum Sassari cheavevamo gaps and establish new ones. The history of these fascinating left image: perhaps a photographer (I guess) ingiustamenterinchiuso which we know little or nothing, a camera, a sguardoorizzontale persons and unknown spaces.

all come to think of this exhibition is faceless, nameless, anonymous.

But paradoxically, in the photos anonymous anonymous ditoche in fires, in the eye that dissects the area and in the subject vieneinquadrato you find a new identity, a new subjectivity. Yet tuttoin these pictures is the subject: the spaces are geometric objects and modular gliospiti in line for food or drugs does not matter, the bodies killed sedated lungoil perimeter of the building, on the beds, above the tables. These objects duevolte: photographic space in which men are drawn and the furniture and nelreferente photos. Are they not mere biological elements, for istituzionemanicomiale, bodies disrupted by sedatives and serial habits? Access to the biology of the inmates is coupled with access all'intimitàdegli themselves: they have been deliberately omitted from the selection some photochemical described moments of deep shamelessness, sadistic gaze, diviolenta deprivation itself. But it is incredibly in total adherence ildocumento between photography and the photographed object that you create a new subjectivity, a rebirth of decency, a battle against ugliness and internment. Inquasi all the photos, the most dramatic, the punctum Barthes, the image are centroideale and hypnotic eyes, is the look fissosull'obbiettivo, rebellious drug-and humiliation. It 's a procession-looking car, sometimes grim, sometimes damp, often looking dicomplicità: always rebels killing chemical and morale.Attraverso the lingering glances in the car we see the sovversionedell'oggetto which claims the subject and is through mezzomeccanico / chemical photography that paradoxically comes riscattoumano.Come Belpoliti Mark writes for the photos taken from Yamaha all'albadell'atomica Nagasaki, to see pictures of the anonymous French test "piety but also the pleasure of the composition , which is the inseparable pair eticaed looks. In short, as between reason and madness, In this picture there are molteconvergenze parallel between object and subject, ethics and aesthetics, shame espudoratezza, convergence, creating a document dieccezionale historical and aesthetic importance.