Massimo Napoli

Photography is memory. Who practice this noble language, sometimes with “higher” purposes, tends to forget it. Then it happened that, coming back from a trip in the land of Rising Sun, a photographer lost a camera, with a large amount of snaps inside it. For his peculiar monomaniacal approach, this photographer had photographed some of the preview behind the camera of this snaps with his cellphone, saving a sort of photo’s photo’s low-fi backup… but the other were snaps just lost. Not first class material, but still memories, notes, pieces of experience. A kind of “loss” that should upset a normal and rational photographer, but disturbed more than necessary a less normal and rational phothographer, such as one (for instance) who write introduction for his own works in third person. Luckly, this lack of rationality brought the solution to the problem. If photography is memory, photographer himself can remember. The solution was, more or less, a backup. Posthumous, but still a backup. And the photographer found the right “device” for such operation. Andrea Tabacco, artist and painter, who shared with the photographer a not conventional approach to world and world’s image, who thought that was perfectly normal spending nights listening description of photos and put it back on paper. And more the re-creation went on, more it became recreational. Once remade the lost snaps, they went on re-creating the ones saved in low-fi form on the cellphones, always avoiding the contact between the drawer and the photo. Backup, even if made up with photos, is not a phographical work. It surely talks about photography, and always about street photography. The final result maybe is less important than the process and experience that leaded to result, more idea of an image that image itself… Even because the photos were better. I remember them well. Massimo Napoli and Andrea Tabacco

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