What happens when, in our exhausting daily meanderings between images and videos, we discover something that merits our attention and we finally see it in everything that really is?
What happens in us those rare times when we are seen for what we really are and not summarily observed, analyzed, judged by those we know and don’t know?
Or again, when we are suddenly struck anew by all the extraordinary beauty of something or someone who was so familiar that we took their distinctions for granted?
Your eyes are on me. My eyes are on you.
Human eyes and video cameras. What drives them?
We are subjected and counter-subjected to looks that are kindly and hostile, funny or serious, dismissive and thoughtful, on this stage of wavering perceptions hat has become our old world.
Art, which for centuries has been exploring the relationship between looking and seeing, between what lies above and under the surface of things and beyond, has taught us over time to understand what is beautiful and what is not, what is important and what is not.
What happens in us those rare times when we are seen for what we really are and not summarily observed, analyzed, judged by those we know and don’t know?
Or again, when we are suddenly struck anew by all the extraordinary beauty of something or someone who was so familiar that we took their distinctions for granted?
Your eyes are on me. My eyes are on you.
Human eyes and video cameras. What drives them?
We are subjected and counter-subjected to looks that are kindly and hostile, funny or serious, dismissive and thoughtful, on this stage of wavering perceptions hat has become our old world.
Art, which for centuries has been exploring the relationship between looking and seeing, between what lies above and under the surface of things and beyond, has taught us over time to understand what is beautiful and what is not, what is important and what is not.
Artists like Bruno Munari and Giò Pomodoro, to sense the difference.