by Maurizio G. De Bonis
The space around us, the places we physically live and experience, the human beings with whom we interact, events, objects, things.
Everything is connected in this presumed reality that defines our existence. Everything merges into a sort of never-ending conflict in which the nexus between subject and object (as well as between the individual and the world) gets more ambiguous as much as it gets seemingly real.
The mechanism of consciousness, where consciousness is interpreted as knowledge, or rather the mechanism of that particular characteristic, which in mankind determines the broader and more complex, as well as dangerously slippery, concept of culture, is therefore at the same time a concrete aspect of our lives and an element of uncertainty which is closely connected to the matter of perception and aesthetics.
What do we really see around us? What is reality? What do we really perceive? And why do some things interest us more than other? These are not easy questions to answer. We can affirm that the process of consciousness passes through questions that cause other perturbing questions, in an endless path that does not lead to absolute truth and which manifests itself as a multidirectional and horizontal becoming rather than a vertical construction of unavoidable certainties.
Consciousness is therefore a problem and not a solution, and this problem can only be associated with the mater of subjective conscience. The individual who relates to this presumed reality commits a very fragile psychic act whose only certainty is determined by the feeling that is generated during the experience of perception. In other words, the archetypal principle of aesthetics.
Basically, conscience and consciousness are inextricably linked, intertwined in each other and deeply related to the aesthetic process: the act of artistic manufacture.
The creative aspect of photography is indefinably articulated between conscience and consciousness as well, within that sort of black hole that lies between the desire to control the real, typical of the human race, and the frustration towards the impossibility of understanding the world.
The 2019 10X10 Festival will try to solve this perhaps unsolvable enigma, reflecting on the dimension of an artistic branch that sways fearfully between sterile cloning of reality and imagination, between documentation and visual ideas, between the desire for narrative rationality and figurative-visionary deviation. All this by being aware that photography is a complicated and arduous technological visual art because of the nature of its final product: the image. In fact, this element uses the signs of reality to describe it, which is an extremely dangerous factor that places the photographic object in a non-existent space, since the content and the sign of the image always lack each other, escape the dimension of the absolute and surrender to a directionless becoming which ends up wrapping in itself for eternity.