I am realising that in SCP we have many anti-conformist artists flirting (again) with Dadaism.
The photographs of the authors presented here, albeit their visual confusion, and thus provocation at first reading, they convey a nonsensical and ethereal narrative after a while.
Rafael calls his pictures "Broken Dreams", Elisa's images are forcing an impression of distorted reality, George's are going further into fragmenting the imagery of the ordinary.
Moriyama called his pictures fears, D'Agata called them obsession and darkness.
Bottom line is, all the above fall under what André Breton termed "convulsive beauty" in the Manifesto of Surrealism.
The same goes for Kertesz's distortions, Man Ray's violin, Atget's shop windows ...
Dadaism appeared post WWI, hand-by-hand with Surrealism as an anti-bourgeois protest "against this world of mutual destruction." As a scream against the madness of collective homicide.
But why now, at times of relative peace, this cyclical re-emerging of the opposite of everything? Why still go beyond aesthetics, offending the established harmony?
It is because almost two centuries of photography could not convince us that perfection in art can perdure. Better technologies, cameras, films, lenses, sensors came to provide crisp images able to be magnified at gigantic levels. And yet, we merrily and happily embrace Man Ray's words: "I would photograph an idea rather than an object, a dream rather than an idea."
This is the public curated Gallery of the STREET CORE PHOTOGRAPHY Group