CLICCANDO SUL TITOLO DEL POST SI VISUALIZZA
IL LIBRO FOTOGRAFICO "WHEN I GROW UP" DIGIOVANNI SAVINO
"The truth is the tone of a meeting."
Hugo von Hofmannsthal
"The hearts of little children are pure, and Therefore, the Great Spirit to show May Them Which things many older people miss "
Black Elk (Hehaka Sapa) Oglala Lakota
"
John Savino says in the introduction his book "When I Grow Up," the meeting and the interview with Dominican children where he asked her to tell what they wanted to grow up.
We are dealing in stolen shots, a photographic objectification aesthetically cold as technically perfect, but the result of many meetings and many conversations with the children but also with the living world of the author.
"has very experienced man. / Many celestial appointed / since we have a conversation / and we can listen to each other "sang Friedrich Hölderlin. And the philosopher Heidegger, commented, "Being Human is grounded in the language, but this happens only in authentic dialogue ... But what is then an 'interview'? Apparently the talk about something together. E 'in such a way that makes it possible to talk about the meeting. Being able to listen is not a consequence resulting from talking together, but it is rather the contrary, the assumption. "
So, similarly, Savino it listens for herself and her children and the photo is only representative of the epilogue it. But how many emotions have gone before!
melancholy consciousness, as Freud teaches us in his thoughts ("sunset") after the famous promenade RMRilke with the poet in San Martino di Castrozza in August 1913, is the result of insecurity had undergone, combined with the powerful sense that something has been lost. Something without which our life is to be more empty. Melancholy may be a reaction to the loss of a loved object, which is not actually dead but was just as lost love object. We believe that there has been a loss but we can not clearly see what has been lost. So human beings can try to mitigate the indifference of the enjoyment of beauty in order to avoid the pain that will give him his loss. In so doing pass through life without realizing it. One would
say "Yes vis vitam, para mortem" if you want to really live you must accept death contained in this life, this sunset!
Savino, who even remembers wistfully relive and review in children who photographs the old feeling of having lost an ability to stay in touch with the dreams and creativity, does not believe the indifference as a defense against the pain inherent in life . Rather, the evidence in a critical, passionate, compassionate, deeply moved, sometimes angry, shocked, but never cynical and detached.
Savino is a lover, both ancient and modern, the pietas of the compassionate and lucid witness Zeitgeist of modernity and change.
Leafing through the pictures in this book, we remove human characters "in progress". Savino catches them when they are being formed, a delicate and crucial. The love of psychology and anthropology, it shines with strength. In the eyes of these children we see doubts, sadness, bewilderment, pain, disillusionment, disenchantment, estrangement, however, and sometimes even joy, innocence and wonder.
Savino's photographs are the immediate and efficient vehicle technology, but of a cosmology of pain in a time when we are no longer able to conceive of the pain that has universal value, that a bridge between the condition of individual solitude, atomized human condition and the universal and collective, these photographs capture a value of "graft", allowing us to perceptual functions, thanks to technology, in a way that we lost. In these photographs
retrace the history of pain in human life: the pain of confusion child with his mother prenatal and postnatal, to the pain of persecution of aggression that returns boomerang with the guilt and the need for atonement, the pain of futility, the separation from the object of love, grief, loss, pain of the necessary individuation, autonomy, and the resulting loneliness.
A pain that is far from useless but a source of self-knowledge such as philosophy and psychoanalysis have taught. Pain is part of life and humanity through it can take self-awareness and gain wisdom and knowledge. Of course pain can generate knowledge, but this, in turn, may cause pain.
The pain, the pathos in seeing these pictures and to hear these stories makes us "know" within the meaning of the greek "Pathein Mathos - learn suffering." Certainly, this "knowledge" which is anything but indifferent to the condition man, a theme very dear to Savino photographer / anthropologist, makes us suffer again.
Although the pain of the suffering is only by identifying these photographs allow us much more intensely than many purely intellectual and verbal analysis, it spreads to involve us.
Savino is a master photographic interplay identificatory and reminds us with Marina Tsvetaeva, "The soul, for the common man is the height of spirituality, the spiritual man is almost flesh."
" WHEN I GROW UP: IN SEARCH OF HUMAN ORIGINS PAIN IN THE PICTURES OF THE AZUA DE COMPOSTELA CHILDREN
BY GIOVANNI SAVINO
by Guglielmo Campione
Giovanni Savino tells us, in the introduction of his photographic book “When I grow up” about meeting and establishing a dialogue with the Dominican children he portrayed. These photos were born from a meeting and a dialogue, where Savino asked the children, if they felt like it, to tell him what they would like to do when they grow up.
Therefore we are not in front of stolen frames, of a cold, albeit technically perfect photographic objectivity, but rather the result of several meetings and many conversations with these children as well as with the inner childhood world inhabited by the author.
Heidegger, the philosopher, "commented” -the human being is based on language: but this is true only in a dialogue….. What does a dialogue mean, then? Evidently, it is the act of talking together about something. It is a way to establish a meeting point though a discussion. Being able to listen is not the result of talking together, it is, on the contrary, its enabler.
So, analogically, Savino is listening to himself and to the children. Photography is just the representative epilogue of it all. But how many feelings behind this!!
Melancholic consciousness, as Freud teaches us in his reflections (“Caducity”) after his well-known stroll with poet R.M.Rilke, in San Martino di Castrozza in the August of 1913, is the result of an imposed precarity, linked to a powerful feeling that something has been lost. A loss that makes us perceive our life as emptier.
Melancholy can be a reaction to the loss of a loved object, which not necessarily has been literally lost, but rather has been lost as a loved possession. We can perceive there has been a loss even if we can’t clearly see what has been lost. So, a human being can try to minimize, though indifference, the pleasure of beauty in order to avoid the pain of its loss. In doing so we go though life without even realizing it.
We could say “ Si vis vitam, para mortem” if you want to live to the full you must accept this death contained within life, this caducity of life!
Savino, although melancholically reminiscing about an ancient feeling to have lost touch with creativity and the dream world that he can observe in the young subjects of his photos, does not believe in indifference as a defense mechanism against the pain of living. On the contrary he witnesses it passionately and compassionately, sometimes emotionally moved, sometimes even angry and shocked, but never in a cynical or detached way.
Savino is a modern and at the same time an ancient worshipper of “Pietas”, a sharp and compassionate witness of the Zeitgeist of the contemporary and of impermanence.
Browsing through the portraits in this book we see a display of human characters “in fieri”. Savino captures them at the very moment of their formation, a delicate and crucial instant. His love for psychology and anthropology is blatantly transparent.
In these children eyes we see doubts, sadness, uncertainty, pain, disillusion, lack of love and yet again happiness, innocence and amazement.
Savino’s photographs are the technological, very efficient, fast vehicles to a cosmology of pain. At a time when we are unable to conceive pain with its intrinsic universal value, as a bridge between the individualistic condition of loneliness and the collective one, these photos acquire a “prosthetic” value, allowing us to function perceptively in a manner we have long forgotten.
In these images we are able to re-explore the chronology of pain in human life: from the pain and confusion in our infancy with our pre-natal and post-natal mother, to the persecution complex of our aggressiveness that brings back, as a boomerang, a sense of guilt and the need of expiation, from the pain of caducity, of our separation from the object of love, the loss of a dear one, to the pain of a necessary self-revision and the following feeling of being alone.
And this is not a useless suffering; on the contrary, it is a source of knowledge of ourselves, as philosophy and psychoanalysis taught us. Pain is a part of our lives and through pain humanity can acquire wisdom and understanding.
Surely pain can generate knowledge but it is also true that knowledge can induce pain.
The pain, the “pathos” of viewing these images, of hearing these stories, makes us “aware” in the sense of “Pathein mathos”- from ancient Greek- I learn though suffering. Surely this kind of knowledge, which represent many things but indifference to the condition of man, a theme very central in Savino’s work, makes us suffer once more.
Even if pain is a very personal feeling, by indentifying with these photographs, much more intensely than through many intellectual and verbal analysis, pain reaches and envelop us at a personal level.
Savino is a photographic master of identification interplay and reminds us, along with Marina Cvetacva that “ The soul, vertex of spirituality for the common man, for the spiritual man is almost flesh”.
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