Iconography of Photodynamics
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Iconography of Futurist photodynamics by Petrucci Pasquale
Digital manipulations belong to current everyday life but previously among the various expressive researches carried out by the pioneers of photography and contemporary art, Anton iulio Bragaglia’s Futurist Photodynamics Gpersonally manages to convey greater interest. In the foreground the movement of the moving subject is inserted, in particular it is crucial to immortalize the multiplication of the silhouette in different sequences. Creating a sort of collage of many frames in a single image makes an iconographic dynamism feasible. But Bragaglia’s photographic research did not have a particular consensus, perhaps because the cinematography made better the concept of movement that was the essence of Futurism, but also because the Futurists held photography in little or no account (Exibart / I futuristi: contro la photography? Claudio Marra 10/04/09). However, the publication of the book written by Bragaglia, entitled “Futurist Photodynamics” triggered a definitive renunciation of Anton Giulio’s theory within the Futurist movement. Writes the painter Boccioni to Sporvieri, director of the Roman gallery in via del Tritone engaged in the installation of a futurist exhibition: “Please, I am writing this on behalf of my futurist friends, exclude any contact with the photodynamics of Bragaglia …”. My personal interest in photodynamics is engaging to the point of designing an expressive photographic research that gradually grouped different photographic shots characterized with specific operational technical indications that have been described in detail in my personal atelier. The project has had a significant aesthetic impact that has resulted in several exhibitions. It is necessary to highlight the personal exhibition held in Milan Italy in via Gerolamo Morone, 6 at the Creat center ve Council with the name Miraggi and with the critical profile of Prof. Carlo Franza. Further exhibitions were held in Specchia (LE) Italy at Borgo Cardigliano under the name of Alfabeti Visivi and in Casoria (NA) Italy at the CAM Museum in the Survival review.
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