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Erased

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Photo exhibition: Erased
Venue details: Via Tribunali, 138; 80100, Napoli, Italy. Phone: +39 08119579240. +39 337974577
Official Website | Event date > from 27-03-2015 to 19-04-2015 | Opening hours 11:00 a.m.-19.00 p.m.

…the magic and the real blend together, in order to question the photographs themselves, their sacrality, their value as icons

Through Erased, first personal retrospective hold in his hometown, multi-prized Neapolitan photojournalist Eduardo Castaldo shows a personal argumentative approach to his previous visual experiences and memories.
The exhibition in itself focuses on the photographer’s inner world, as a man and reporter daily witnessing to history. It recollects previous works in the systematic anti-chronological dis-order of a multilayered display of both, his personal remembrances and feelings from the time he was a free-lance correspondent in Middle East and his strong critique to the complex media landscape we all live in. A world in which elemental events of our contemporaneity are routinely erased, day by day.

The photographer’s demand for an unequivocal critical approach to those newsy attitudes that daily regulate mainstream medias’ editorial choices, and the urge to share his intimate disillusionment and frustrations while recollecting his own memories, have transformed Castaldo’s previous reportages into an excellent installation of art.

It was through a casual conversation with Neapolitan photographer and friend Peppe Tortora, curator of the exhibition, that the central idea of Erased came to life. An exhibition which brilliantly puts on display, all together in a cozy homey location, randomized slices of Castaldo’s works. Winds of memories, hopes, chronicles, personal epiphanies, disillusionments are all perfectly mixed and staged out at the chosen location, the warmly atmosphered home gallery Tribunali 138.

Tribunali 138 is an unique residency bordered to St.Gennaro’s Cathedral and its treasures. House, professional photo studio, gallery – this place is everything but what its owner and inhabitant, renowned photographer Luciano Ferrara, humbly claims it to be: a non-place. Since Tribunali 138  feels the real place where local and personal histories fluidly mix together with any visitor’s life, in a genuinely convivial approach to the “display” of photography, it cannot be associated to any anonymous non-place of our contemporaneity.

Erased has been expressly created for this location. Possibly conceived to disclose the intimacy of an individual’s stream of memories, it has been staged in the most intimate of places: a man’s home. Therefore Ferrara’s house epitomizes Eduardo’s inner rooms. It welcomes the visitor with tiny little prints of children and families, waving from ancient picture frames, scattered on a tea table, as their memory comes back to life. The audience is constantly induced to ransack around the home-gallery, moving two-sided prints hanging from the walls, searching through the photographs piled up on the floor, answering to tests about untold recent news chronicles, sitting on a sofa in the bathroom, to watch a short video reportage. Thus the timeless chaos of an individual’s memory mingles with the rigorous journalistic chronicle, the magic and the real blend together, in order to question the photographs themselves, their sacrality, their value as icons -emptied simulacra of the forgotten stories they were meant to bear and deliver to the world.

Born from that deafening historical silence that daily makes striking news become old stories, bound to the untold overwhelming legacy of all those faces met and lost on the way, Erased recalls previous chronicles through a beautifully chaotic stream of images. It casually lets them float through today’s achieved intimacy between the stories and the photographer who narrated them before, makes us perceive his sorrows and regrets. Because his pictures were witnessing to a changing world. Because his photographs were supposed to change the world. Because those pictures never really changed the world.

Quietly vindicating the right to creativity and art to photojournalists, Eduardo Castaldo is undressed, while tackling his audience’s greedy eyes. He casually reminds to us about all those men and women who -when not on assignment- may bear the heavy burden of what they witnessed to. Common human beings, as us all, but who still may act autonomously to further narrate the same stories -in different ways and louder than before- elevating their own experiences to beautiful highly educative artistic processes.


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