the conceptual photography of pierpaolo lista
by gillo dorfles
when photography forgets to be a (valuable) technique and transform itself into a new authentic expressive medium, it is to be truly considered one of the most powerful of visual arts. however, it is crucial for the image that it carries…those characteristics, call it 'conceptual', able to lift it from its initial nature: a faithful copy of phenomenal reality.
in the group of photos by pierpaolo lista now being exhibited at the leggermente fuori fuoco gallery, the photographic technique becomes, from the start, a simple and swift instrument to build an image, in itself, alter ego and deuteragonist of figurations already pertaining to lista's pictorial production. it is, in other words, the 'excarnation' performed upon an objective element 'even the simplest' transformed by way of fine craft and conscious alteration, in a sort of phantasmatic vision, which although preserving the stigmata of reality, succeeds in transforming it in, that i could define, its equivalent memory. therefore, both real objects (telephone handset, bicycle, small chair, etc.) and 'virtual' ones (outlined drawings and its shadows) become the protagonist of new artistic tales: not anymore the ones conveyed by a painting or a collage, but those which attain ineffable yet mysteriously vital consistency from the peculiarly atmosphere of photography.
indeed, a person observing some of these photographs: scappo alla risposta ( the telephone handset hanging by its cord), odore (the basket, suspended and strongly lit), tempo libero (the pseudochair) or corro di schiena ( drawn pseudo bycicle) and even a galla (the paper boat sailing in a ficticions hyperborean landscape), will perceive that the confluence of the real and fantastic elements, by way of the dual photographic artifice, acquires a new fascinating expressive quality able to introduce us in a universe we could define, at least from an 'etymological' standpoint, as 'metaphysic'.
leggermente fuori fuoco gallery