Visions of Sound : Noises, Rhythms and Acoustic Ambients. ![]() And then we are in Boston, Merida, London, Munich, Berlin overwhelmed in a ballad, an uninterrupted flow of photographs, the story of a life: that of Nan Goldin. We all are also in the picture: we look at the sea in Coney Island, sit on the benches in Tompkins Square Park, admire the Bowery roofs from above. Photography becomes a form of experience, one could say the direct experience of the "original". Her way of photographing has opened up to the experience of daily life and excess and has transformed these into relationship, passage, contact. Isn't passion a mess? Nan Goldin's life has this form, and it is a misshapen and desperate form that can hold our gaze to the faces and places depicted in the same way as it happened to her. It does not matter if the pictures are moved, blurred, imperfect. The excess of life is opposed to nothing. It suggests that with creation you can really fill the void of loss. ![]() The Ballad is all this: the rhythm of a fierce intimacy that resists its consistency in front of everyone's eyes, fully exposed, beyond the flowing of time and its consuming things. In addition, music dislocates the meaning through the immediate reference of the sound suggestion: melody, intensity, duration, quantity, pauses dictate the rhythm of the Ballad and characterize the style with which the photographer wants to achieve an effect of reality, as it happens with images of traumatic situations. The perfect synthesis is the slideshow with its soundtrack: it is not real photography and it is not even cinema, but it evokes both experiences. ![]() Nan Goldin confirms this with his words: "The camera is part of my daily life like talking, eating or having sex." Life and photography also coincide with choosing to use color: nothing is static and everything is elusive. And even if the image is not real, it's at least what Roland Barthes calls the perfect analogon, or "analogic perfection," "a message without a code," and as such a "continuous message". She represents "the exact scene, literally " the real, although there is undoubtedly a reduction in proportion and perspective. Whoever looks at the images understands that there can be no expectation unless of the subject caught up in his purity of referent: Cookie is Cookie, in her wedding dress and her eyes perenially made up in black, it's her indecipherable being,when suffering, in love. The impression is that everything that exists outside is completely irrelevant. What induces her to make shots are the feelings: friendship, love, physical attraction which move the image's boundary "inside" her world and redraw the boundaries of what we can consider as a credible visual subject.
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