post:
Photography As Philosophical Practice By Fernando Zaccaria
WEB UNDER CONSTRUCTION
from the essay of Markus Ophälders : "Reflexes and Reflections. The Oblique Glance of Fernando Zaccaria’s Photography"
[In December 2005, when he gave me his first book of photography, New York City September 10th (2002), as a present, Fernando Zaccaria wrote in his dedication that my reflections had invited him to “touch in order to discern.” He was referring to German Romanticism and to the concept... of irony upon which it is in many ways founded.
It might seem that Romanticism and the city of New York have nothing to do with one another and thus that the abstract character of the towers and the skyscrapers –– reproduced in such a mediated way in the reflexive images of Zaccaria’s photography –– even denies everything that usually is associated with Romanticism. But he caught the right thing: along with romantic arts begins the process of spiritualization of aesthetic experience, which extends itself even in many aspects of 19th century arts. But above all in this era, immediately after the French Revolution, begins a historical process that has made modern collective experience more and more abstract, less intuitively concrete, and necessitating more and more reflection, which means a spiritual moment able to recuperate those levels of experience no longer open to a merely sensible and immediate approach.]
It might seem that Romanticism and the city of New York have nothing to do with one another and thus that the abstract character of the towers and the skyscrapers –– reproduced in such a mediated way in the reflexive images of Zaccaria’s photography –– even denies everything that usually is associated with Romanticism. But he caught the right thing: along with romantic arts begins the process of spiritualization of aesthetic experience, which extends itself even in many aspects of 19th century arts. But above all in this era, immediately after the French Revolution, begins a historical process that has made modern collective experience more and more abstract, less intuitively concrete, and necessitating more and more reflection, which means a spiritual moment able to recuperate those levels of experience no longer open to a merely sensible and immediate approach.]
None of my works has been manipulated in any way, every shot is direct taken on traditional film without filters or double frame shot or digitally processing at all.
dal saggio di Markus Ophälders: "Riflessi e riflessioni. Lo sguardo obliquo della fotografia di Fernando Zaccaria"
[Nel dicembre del 2005, quando mi regalò il suo primo libro di fotografia New York City September 10th (2002), Fernando Zaccaria scrisse nella dedica che le mie riflessioni lo avevano invitato a “toccare per discernere”. Si riferiva al Romanticismo tedesco e al concetto di ironia che in ampie parti lo fonda.
Sembrerebbe che il Romanticismo e la città di New York non abbiano nulla a che fare l’uno con l’altra, può sembrare cioè che l’astrattezza delle torri e dei grattacieli – riportata in modo così mediato nelle immagini riflesse della fotografia di Zaccaria – addirittura neghi tutto ciò che si è soliti associare al Romanticismo. Invece, vide giusto: con l’arte romantica comincia quel processo di spiritualizzazione dell’esperienza estetica che si estende ancora in gran parte dell’arte del Novecento. Inoltre si avvia, immediatamente dopo la Rivoluzione francese, un processo storico che renderà l’esperienza collettiva moderna sempre più astratta, meno intuitivamente concreta e sempre più bisognosa di riflessione, ovvero di un momento spirituale in grado di recuperare quegli strati d’esperienza che un approccio meramente sensibile e immediato non riesce più a dischiudere.]
Nessuna delle mie opere è stata manipolata in alcun modo, ogni scatto è in presa diretta su pellicola tradizionale senza ricorso a filtri, doppi scatti o elaborazioni digitali.