Irony as an instrument of investigation and representation of reality. As a critical attitude of the artist towards the society in which he lives. But also the irony of a look, which catches the errors, the most bizarre and funny aspects of everyday life.
After all, Martin Parr himself said: “People are fun, this is a given. My photographs are ambiguous as I think photography should be. But my job is not to tell people what they are.”
Again, walking on that thin thread that separates (or unites?) fiction from document, through irony, photography reveals aspects and possibilities of reality that would otherwise remain unexplored.
In Street View – as in the other works of the macro-series “Life in cities” – there’s a striking conscious lightness with which Wolf frames very heavy themes, thanks to a deep awareness of the medium that leads him to undertake courageous and unconventional solutions. The taste for irony and the freedom to experiment are for Wolf the Socratic artifices towards a curious and irreverent exploration of new horizons of photography meant as a tool for reading the present
The taste of the paradox, the sense of irony, the ability to grasp the unintentionally ridiculous situations of everyday life: the inimitable English humor, which invites a smile with a slight detachment, almost as if the absurd were part of normalcy. The English photographer David McEnery (1936-2002) has interpreted this spirit in a wonderful way, with a special grace: his photographs are masterpieces of irony, often of comedy. Some small gags for images.
Martin Parr, fotografo britannico famoso in tutto il mondo, molto amato dal pubblico, curatore, editore, grande appassionato e collezionista instancabile di libri fotografici, pubblica nel 2012 Life’s a beach, curato da Xavier Barral per Aperture.
There is no doubt that today we are inundated with an overwhelming iconographic tide. It is exactly to give the sense of this new coexistence with images, that Erik Kessels creates an extremely significant installation in 2011, entitled 24 Hours in Photos. The artist downloaded and printed, in 10×15 postcard format, all the photographs that had been uploaded on the Flickr image sharing platform over a day.
Starting from vintage photographs that he finds in flea markets or in abandoned archives, Kensuke makes completely new images, cutting, overlapping, and overturning pieces of photos that fit together like pieces of a puzzle.
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