In the age of “enlightened destructionism”, of the vast cris(is)ology, of the multiple diagnoses and lack of powerful propositions and perspectives (in theory and practice), every artistic practice is subjected to a series of trials, a series of “framings”, in order for its essence to be verified, revealed, its contribution, its endurance and its engagement with the radical reclassifications of the early 21st century and 3rd millennium.
The core problematic of the current exhibition of photographic work can be summarized as being, whether contemporary photography has the dynamic and the range to achieve a complex imprint of the ‘‘first invocations’’ of historicity or if it is to be limited to superficial games, to recordings of the epiphenomena. In final analysis, we are attempting to question how the emergence of the “meaningful” and the ‘’fundamental” is entwined with the “eternal” game of fictionalization and historical approaches.
The aforementioned issues can be approached from a variety of angles and receive various answers – with the production of photographic works being the final and absolute field of identification of their cohesion. The “cells” that make up the exhibition at metamatic:taf as direct material frames, constitute a matrix of reciprocal control between the idea and the work, the institution and the photographer, the local and the global, the essential and the minor.