“視覺印象” 不同尋常的意大利之美

“視覺印象”：作品以熱情洋溢的觀察和探究的視角構(gòu)成一個故事，并隨之構(gòu)成整個節(jié)目創(chuàng)作風(fēng)格的基調(diào)。

通過本世紀(jì)攝影師的好奇、獨創(chuàng)觀察，該簡編（綱要）凸顯了意大利作家攝影的當(dāng)下“個性”---對其文化原創(chuàng)性充滿激情和敏感。

“視覺印象”也是一次親密的旅程,其中，當(dāng)今的許多作者本人將面對大眾，從自身在當(dāng)代環(huán)境和隱私的生活經(jīng)驗、人生起落等各方面,展示他們藝術(shù)的成熟臻善，暴露強(qiáng)烈的矛盾以及藝術(shù)直覺---作為敘述工具、直覺力工具、以及對世界和自身反思的工具---的無限可能性，從而定義全球化以及社會化。

此次聚集的目的是肯定一種新的語言形式---不那么傳統(tǒng)更不具描述性，恢復(fù)我們藝術(shù)史的深厚根基，作為新攝影文藝復(fù)興時代的意大利人。因此，為了激發(fā)新視野，捕捉、保持我們的“大美”，并讓所有意大利人都能夠理解其文化風(fēng)格。

人才也因其自身價值、內(nèi)在和諧的意識而杰出，這可以于他們的日常生活才能中捕捉到，能夠展現(xiàn)所有可能的美;所謂“情人眼里出西施”。

在這個項目中，人類的存在占主導(dǎo)地位，我們說它是主角，往往被地方和符號所包圍，既具社會性和文化性，當(dāng)然同時也很虛幻。

當(dāng)然也會有研究攝影和紀(jì)錄片，但它們總是“不同尋?！?，如報告文學(xué)---看起來像是戰(zhàn)爭場景而實際上卻是慶祝、和平場景。

因此，將人生希望和視角結(jié)合在一起就能夠產(chǎn)生奇跡，前者能讓觀者捕捉到人生最好方面的這一人性，而后者則具備觀察者和表演者的兩種觀察角度。

有些作家被納入到當(dāng)代舞臺攝影傳統(tǒng)中，同樣是借鑒于文學(xué)、繪畫或電影作品虛構(gòu)。

其他作家把他們的表現(xiàn)力寄托于他們歷史上留下的深刻痕跡、印記，而其他作家則集中于使用建筑形式作為各種建筑動力學(xué)或個人救贖的社會表現(xiàn)形式。然而還有一些人，他們用攝影來展示遺址的景觀，展示一個正在消失的意大利，就像那種溶解中的地圖集。

很明顯，有一些作家，他們憑借自身驚人的掌握力或大自然的創(chuàng)造之美，捕捉到了夢境般的風(fēng)景。力量、勇氣和重現(xiàn)，是許多挑剔作者偏愛的藝術(shù)表達(dá)；它們代表著一種具有表現(xiàn)力的語言，在攝影中一直占據(jù)特殊地位。

克勞迪奧·布洛夫拉

“VISIONI” Unusual beauty of Italy

“VISIONI”: works that form a story made of passionate glances and inquiring visions, which is then the underlying tone of the creative style of the entire show.

A compendium that distinguishes the current "character" of Italian author photography, passionate and sensitive with the originality of its culture, through the curious and original look of the photographer of this century.

“VISIONI” is also an intimate journey, in the personal, that many authors today face to show their artistic maturity, ranging from the experiences and vicissitudes of life, in the contemporary environment and privacy, exposing the strong contradictions and the magnificent possibilities that the artistic intuition offers as a tool both of narration and of intuitive strength and of reflection, on the world and on oneself, which comes to define globality as well as sociality.

The intent of this collective is to affirm a new form of language, less traditional, less descriptive, to recover the deep roots of our artistic history, of being the Italians of the new photographic Renaissance. So to trigger new visions that serve to capture and preserve our "great beauty" and make it understood through culture and style, all Italian.

Talents are also distinguished by the awareness of their own value, of their inner harmony, capturing in their daily life solutions of the talent and showing all the beauty possible; it is said that "beauty lies in the eye of the beholder".

It is a project, in which the human presence is predominant, we say that it is the protagonist, very often surrounded by places and symbols, both social and cultural and obviously also imaginary.

Obviously there is also research photography as well as the documentary, but always "unusual" such as reportage that look like war scenarios and instead are scenes of celebration and peace.

So a hope of life, where the viewer captures this humanity in its best aspects, a visual circle where the two points of view, that of the observer and that of the exhibitor, can be mixed to give rise to the miracle of synthesis.

Some authors are inserted in the tradition of contemporary staged photography drawing also from the imaginary of literary, pictorial or cinematographic works.

Other authors entrust their expressiveness to traces, to signs carved deep in their history, others focus their projects on the use of architectural forms as a social representation of various architectural dynamics or as a personal redemption. Still others use photography to show how landscapes of abandonment exist, showing a vanishing Italy, like a sort of dissolving atlas.

Obviously there are authors who have captured dreamlike landscapes with amazing mastery, or the creative beauty of nature. Strength, courage and rediscovery, through the use of their body, are the artistic expressions preferred by many authors with a particular critical conscience; an icon of expressive language that has always reserved a privileged role for photography.

Claudio Brufola