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Archivi Mensili: settembre 2014

un marziano

Le fotografie di Eggleston sembrano scattate da un marziano che ha smarrito il biglietto di ritorno e che finisce per andare a lavorare in un negozio di armi in una cittadina vicino a Memphis. Passa i fine settimana a cercare quel biglietto perduto – deve pur essere da qualche parte – con una meticolosità casuale che contraddice i tradizionali metodi investigativi.

Geoff Dyer, L’infinito istante, Torino, Einaudi 2007








©William Eggleston, Untitled, 1973


una crisi in atto

Se oggi una crisi è in atto, essa è innanzi tutto crisi di referenze (etiche, estetiche…), incapacità di misurare avvenimenti in un ambiente in cui le apparenze sono contro di noi. Aumentando lo squilibrio tra informazione diretta e informazione indiretta, frutto dello sviluppo dei vari mezzi di comunicazione, tendenti a privilegiare sconsideratamente l’informazione mediatizzata a detrimento di quella sensoriale, l’effetto di realtà soppianta, a quanto sembra, la realtà immediata.

Paul Virilio, Lo spazio critico, Bari, Dedalo 1998


isabel m. martinez









©Isabel M. Martinez, Carrousel (from the series Quantum Blink), 2011

The Structure of Uncertainty

abbiamo intervistato Eeva Hannula durante Unseen Photo Fair, Amsterdam

Metronom: Eeva, you’re a very young artist, currently in the last year of your MA in Photography; based on your personal experience, what do you think is important in the education of an artist?

In my case, I started to study Aesthetics at the University when I was 20 years old, which gave me an important theoretical basis on art. At that time, I was also studying Literature, and I used to write my own poems. I think that was a fundamental stage, as somehow I felt that I was able to find the core of things through language. That helped me to under stand how to put many different meanings together.

After that, when I was 23 years old, I approached photography, took a basic course, and then decided to apply to ( Turku Art Academy) University in order to study it. With photography, at first, it wasn’t easy to find a way of expressing myself. I always used to think that my pictures were not “enough”, that they could express more. At one point, I also experienced a kind of crisis, as I realised that I was trying to control my images too much. Then I found my father’s super-8 materials (which I used for the series “The Structure of Uncertainty”) and started working on them. It helped me to understand that – like words – I could mix also images together. Also, the use of Photoshop allows me to merge the and modify the pictures even more.

 M: …and this leads me directly to the second question, which is about technology: to what extent is it part of the production of your works?

There is a Finnish artist, called Erkki Kurenniemi, who deals with electronic art, music, photography; I once saw a documentary on him and was very impressed by his idea that it is important to people to control the language and the original functions of the machines, and to use them in their own way.

In my works, I like the fact that I can add meanings and layers thanks to Photoshop; I can use it as a material in a way, and it is another tool to express myself. I am feeling the need to put many different images together, making them communicate with the others. I think that, once you modify it and add meanings, the image becomes even more powerful.

M: The third question concerns something you mentioned at the beginning, when you were talking about your studies of Aesthetics and Literature. Your artworks have very poetical and delicate features, which show a deeper reflection behind them; could you tell us something about their theoretical basis?


I think that artists can use and merge together many different teorie and use the mas the inspiration of their work. Also, something I find very interesting is psychoanalytical thinking; I am fascinated by the uncertainty of the mind, by its processes of repressing memories, feelings, thoughts, et cetera. I am also focusing on this topic for my MA dissertation.

I use psychoanalysis as a basis of my works; the black dots in “Dead spots”, for instance, are the metaphor of the absence of information in the human mind, a sit happens when we cannot recall some memories or details. In “The Structure of Uncertainty”, I use the errors that are already in the Super-8 material, or I voluntarily add some when realising the images.

I think that the crisis I had with photography, which I mentioned before, has been a very important moment in my artistic career; I am convinced tat one needs a moment of crisis in order to be aware of his possibilities and passions, and in order to develop his own language.

05_Dead Spots-1










Eeva Hannula, Dead Spots, 2012

un eterno presente

Lo spettacolo crea un eterno presente di aspettative immediate e la memoria cessa di essere necessaria o desiderabile. Con la perdita della memoria abbiamo perso anche la continuità di significato e di giudizio. La macchina fotografica ci solleva dal peso della memoria. Come Dio, ci sorveglia e sorveglia in nostra vece. Ma nessun altro dio è mai stato così cinico, poiché la macchina fotografica registra allo scopo di dimenticare.

John Berger, Sul guardare, Torino, Einaudi 2009

72daysoleggio-1 Mathis










Esther Mathis, 72 days (Oleggio), 2013