{"id":18173,"date":"2023-03-06T17:54:56","date_gmt":"2023-03-06T17:54:56","guid":{"rendered":"https:\/\/www.ugomulas.org\/gallery\/verifiche\/3-il-tempo-fotografico\/"},"modified":"2023-04-26T13:05:31","modified_gmt":"2023-04-26T13:05:31","slug":"3-il-tempo-fotografico","status":"publish","type":"page","link":"https:\/\/staging.ugomulas.org\/en\/gallery\/verifiche\/3-il-tempo-fotografico\/","title":{"rendered":"3. Il tempo fotografico"},"content":{"rendered":"\t\t
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3. THE TIME OF PHOTOGRAPHY. FOR JANNIS KOUNELLIS, 1970<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\tBetween the end of 1969 and the beginning of 1970, Kounellis took part in the exhibition Vitalit\u00e0 del negativo in\nRome. A piano was placed in a wide neutral space and, twice a day, a pianist played a partly modified piece from\nVerdi\u2019s Nabucco for several hours, the music thus becoming an obsessive motif. To take a picture of the pianist\nwhile he was playing seemed unimportant, at most it was just a mere documentation for Kounellis. So I placed\nmyself on the side opposite the musician and, from that fixed position, I tried to photograph the hall. My intention\nwas\nto convey the feeling of obsession produced by the recurrence of the music as well as the sense of the musical\ntime which is antithetical to the photographic time. Photo after photo, while the image remained motionless,\nbecause I remained in the same place, and the pianist\u2019s movements were so small in such a large space they were\nhardly perceptible; the music kept coming and going, closing me within a kind of circle. The result was an entire roll\nof thirty-six almost identical photograms. There are thirty-six of them not owing to my choosing, but because\na full roll is made up of thirty-six shots. In the contact print the numbers on the edge of the film follow one another\nalong the still image: if not for their presence, you might think these were thirty-six repeated photos.\nThe only thing that changes are the numbers: not a convenient sequence but a linguistic reality. Time, that is,\nacquires an abstract dimension. In photography it does not run naturally, as it does in cinema and literature:\ndifferent times are\nsimultaneously present on the same sheet, in the same moment, apart from any concrete observation. This\nstillness is more effective than any actual movement, it is the obsession of the repeated image that makes the\ndimension of photographic time come out.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

3. THE TIME OF PHOTOGRAPHY. FOR JANNIS KOUNELLIS, 1970 Between the end of 1969 and the beginning of 1970, Kounellis took part in the exhibition Vitalit\u00e0 del negativo in Rome. A piano was placed in a wide neutral space and, twice a day, a pianist played a partly modified piece from Verdi\u2019s Nabucco for several […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":17969,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-18173","page","type-page","status-publish","hentry"],"yoast_head":"\n3. Il tempo fotografico - Ugo Mulas<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"3. Il tempo fotografico - Ugo Mulas\" \/>\n<meta property=\"og:description\" content=\"3. 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