4 seconds behind a screen recording
1, 2, 3, 4 seconds and more
Listening and seeing
1, 2, 3, 4 seconds and even less
Seems to be enough to forget
4, 5, 6, 7 seconds and we do not even question
What was given and what was left.
4 seconds, an image asking us to observe
Within 4 seconds an image comes back
Simulacrum haunting our attention once again
4 and more seconds to question
Do we forget?
On July 2017 I started to photograph online video-footage and television news about the migrant and refugee exodus towards Europe. The material collected throughout the research covers a period of five years, starting from 2013. Even if we are periodically overexposed by vivid, raw and hyper-defined images and incessant information, most of the time what remains in our mind is blurred, distorted, confused or forgotten. For this reason, I decided to photograph the video-footage through a long exposure (approximately 4’’) in order to return these images to a different form offering the possibility to slow down and reflect on our way of looking/not looking and forgetting. The photographed material was gathered from several media platforms and TV networks to include not only those images that are repeated and rebounded from one source to another but also those that are less frequent and less shown. Thus it seems that there are images that we forget because we are overexposed to them and others that will be forgotten because less displayed.
The photographic mirror reflects, reclaims and diverts the fleeting images developed through the distance imposed by the screen in a way that invites to think about what happened and what was forgotten. Through this appropriation, new narratives, meanings, and readings could emerge, which possibly raise questions about the representation and the perception of the migrant and refugee exodus. The emphasis on image vanishing is a means to reflect on reality and its depiction, on memory and its rarefaction. The abstract language that emerges would detach the photographs from the media discourse usually built around them. Appearing through the fog of memories, the photographs become simulacra of our tendency to forget, memorial representations against the veil of oblivion.
School of Arts & Humanities
MA Photography, 2018
+44 7460 725387
Brigida Lunetta is an Italian visual artist born in Palermo in 1993 and currently based in London. Her practice and research are often intertwined around contemporary social and political issues that are meant to be ignored, overlooked and/or not properly discussed. Therefore, the camera is used as a tool to observe and return in a different way what we tend to not observe and forget. Her works develop around the concepts of reality, representation and appropriation, signs, memory and its rarefaction.
She often uses strategies of abstraction in order to reveal her subjects in a different way creating images in which new meaning and reading could emerge. Her artistic practice is based on a research process that often leads to the production of books/zines in which she explores and works around the combination between text and images.
- Bachelor in Photography and Visual Communication, Istituto Europeo di Design, Turin, 2015; Fine Art, Willem de Kooning Academy, 2015
- Winners of the context "2015 Year of the Light" sponsored by INAF, Beyond Scraps, Museo Infini, Pino Torinese (Turin), 2018/; Dys/Utopia, Berwick Film And Art Fringe, Berwick, 2017/; Winners of the context "2015 Year of the Light" sponsored by INAF, Beyond Scraps, Phos, Via Giambattista Vico 1, Turin, 2017/; Les Overlays, Phos, via Giambattista Vico 1, Turin, 2016/; 'Beyond Scraps', Piazza Carlo Felice, Turin, 2015/; Beyond Scraps, Istituto Europeo di Design, Turin, 2015/; Expo-Tension, Fenixloodsen, Rotterdam, 2014
- Winner of the context "2015 Year of the Light", INAF, 2016/; Winner of the 2015 Phos' artist residence in Grasse, Cöte Azure, 2015
- Artist talk, The Arts University College at Bournemouth, UK
- epodovevamosopravvivere, self-published, 2018/; Leonia/Ziza, self-published, 2018/; Unfinished, self-published, 2017/; Nostos, self-published, 2017/; 'Memoriae' printed with Phos, via Giambattista Vico, Turin, 2016