{"id":2254,"date":"2019-10-28T08:09:26","date_gmt":"2019-10-28T07:09:26","guid":{"rendered":"http:\/\/www.tosettivalue.it\/cristina-de-middel-2\/"},"modified":"2020-03-02T09:57:01","modified_gmt":"2020-03-02T08:57:01","slug":"cristina-de-middel-2","status":"publish","type":"post","link":"https:\/\/www.tosettivalue.it\/en\/cristina-de-middel-2\/","title":{"rendered":"CRISTINA DE MIDDEL"},"content":{"rendered":"\n

Cristina de Middel
Antipodes<\/em><\/h3>\n\n\n\n

<\/p>\n\n\n\n

Tosetti Value is proud to continue its visual research on the globalized world, presenting the project “Antipodes<\/strong>” by the Spanish artist Cristina de Middel. The exhibition, organized in collaboration with Camera \u2013 Centro Italiano per la Fotografia, celebrates the five years of the project \u201cprospettive – l’economia delle immagini\u201d, concluding “at the antipodes”, in the unspoiled land of New Zealand, the first journey taken by the Family office through the globalized landscapes of Europe, America, Asia and Africa.<\/em><\/p>\n\n\n\n

Cristina\nde Middel <\/strong>challenges\nthe codes of documentary photography in order to involve the public in a game\nof mirrors that does not reveal reality itself, but its possible\ninterpretations. De Middel always draws her inspiration from a real element,\ncoming from the experience, whether collective or individual. Her narrative\nstarts here, revealing itself in different ways, but always aiming at inviting\nthe public to ask themselves whether what they see is true or false, whether it\nis the faithful representation of an event, a situation, a place, or whether it\nis a reconstruction, a deception, a fantasy. <\/p>\n\n\n\n

This is the\nresult of a reflection on the status of photography<\/strong>, on its underlying\nambiguity, and at the same time on the mechanisms of information and the\nstructures of vision (a reflection that, moreover, not by chance unites de\nMiddel to the two artists who preceded her on these walls, Mishka Henner and\nNo\u00e9mie Goudal). <\/p>\n\n\n\n

If in other\ncases – first of all the best-known cycle “Afronauts” – the artist\nemphasized the collective dimension of these topics, in this cycle, presented\nhere for the first time in Italy, de Middel literally explores her relationship\nwith the canonical genre of photography, namely that of landscape<\/strong>. The\nartist starts from a paradox, identifying the place furthest from her land of\norigin, building on this distance the further paradox of a photography that\ndesperately tries to reach an impossible completeness, able to see everything\nand to give everything back. The result is the opposite: an even more\nfragmented and almost indecipherable vision. The distance from home<\/strong>\nbecomes nearly the metaphor of the distance<\/strong> between photography and\nreality<\/strong>, the confirmation of its being first of all representation and\ninterpretation, not documentation. \n\nTo confirm this aspect, here comes the choice of\ndoubling the mirroring element <\/strong>(which also implies an idea of looking\ninwards, towards one’s own identity) and the presence of the underlying map,\nwhich is in turn destined to a double function. On the one hand it underlines\nthe idea of transposing reality into symbolic language, on the other hand it\nshows the possible extreme consequence of this approach, the metamorphosis of\nthe world into an abstract pattern, which replaces the small, disordered\nportions of reality that the camera can capture, with an orderly, infinite\ndifferent repetition.\n\n\n\n<\/p>\n\n\n\n

Walter Guadagnini <\/p>\n\n\n\n

A project by:
Tosetti Value per l\u2019Arte<\/em> <\/p>\n\n\n\n

In collaboration with:
CAMERA \u2013 Centro Italiano per la Fotografia <\/p>\n\n\n\n