About fotodinamismo
Nel 1910 Arturo e Carlo Ludovico Bragaglia, rispettivamente di sedici e diciotto anni, effettuano insieme al loro fratello maggiore, Anton Giulio, delle sperimentazioni fotografiche, ricorrendo principalmente a lunghe esposizioni. Anton Giulio colloca i risultati sorprendenti delle immagini nel neonato movimento futurista fondato da Marinetti un anno prima. Si susseguono, negli anni a venire, le fotografie realizzate a soggetti in movimento come Salutando, Il falegname che sega, Lo schiaffo, L’inchino, Le due note maestre e L’uomo che cammina. Nasce così il Fotodinamismo futurista. L’annuncio ufficiale viene dato sulle pagine della rivista fiorentina Lacerba, ma sarà la pubblicazione del libro scritto da Anton Giulio Bragaglia, intitolato proprio Fotodinamismo futurista e corredato da sedici immagini, a scatenare una vera e propria bufera in seno al movimento.
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At the turn of the 20th century parascientific experiments, spiritualist photography, multi-portraits, montage effects and the chronophotographs of Etienne-Jules Marey provided a rich background against which a Futurist photographic aesthetic gradually formed. Photography as a vehicle for penetrating the mysteries of life and for fixing the invisibility of matter versus energy influenced Futurist pictorial dynamism. However, there was a dilemma for Marinetti and the Futurists in 1909/1910, for as much as they hailed scientific photography as technologically innovative they could not embrace the medium as art. They felt the camera petrified life, stopped time and offered rigor mortis recordings of reality, at odds with the poetics of dynamism.
It was not until 1911 and the invention of photodynamism that Italian Futurism made its distinctive contribution to the history of photography. Photodynamism was a term created by Anton Giulio Bragaglia to define the photographs of movement he made with his brother Arturo. The aim of these pioneering works was to induce visual vertigo causing the image represented to move as far as possible from the photographic reproduction of things. With financial support from Marinetti, the Bragaglia brothers continued their research and Fotodinamismo Futurista was published in 1913. Anton Giulios theoretical ideas were well received in photographic circles and many were adopted by other European avant-garde movements in the 1920s and 1930s.
Other Futurists employed different strategies to counter photographys passive recording of reality. Well aware of the propaganda value of their photographic portraits, Marinetti and his fellow Futurists distributed them widely seeking press attention at every turn. They gradually managed to subvert the codes of studio photography making reportage documents of the life and actions of the avant-garde artist. Fortunato Depero challenged existing orthodoxies by producing a series of self-portraits in which he used gestures and facial expressions to project an extravagant, theatrical and exhibitionist persona. Depero provoked and played with the viewer and made the first photoperformances by drawing on photographs, adding messages and sketches.
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to comment phots in the pool:
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href="http://www.flickr.com/groups/fotodinamismo/"
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