Simone Settimo, Michele Drascek (text)

Will you remember me?... - ONLY FIVE SIGNED COPIES IN STOCK


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"We are confronted so frequently by reportages of the livelines of the city of New York in its constant and perpetual movement, that these images are already part of our collective consciousness: it is an iconic luggage.
But the mystery of the assiduous transformations that move about restlessly in New York, can still appeal the senses of a mindful and attentive eye.

If the city moves, the eyes can gaze better by moving too.

OIt is by moving that Simone Settimo confronts the current of events of New York. He captures images while he is being caught by events. Therefore, the captured phenomenons are transient and instants prevails on stability. We can read in his photography an impression of a perpetuum mobile.

In 'Will you remember me?...' Rality is a Becoming.
With 'Will you remember me?...' the photographer creates marks within the Becoming.

Settimo doesn't aim to analys reality through photography, and yet he is not simply documenting the reality by means of photography. He has eyes for that moment where there's a fleeting equilibrium between the before and the after.

In this fleeting equilibrium, the landscape is human. And, importantly, the artist is capable of interpreting this landscape yet avoiding social and anthropological analysis.
There is space for emotions.

This, in a world - and in a city - that takes its portrayal already for granted." (Michele Drascek)

About the photographer (*1978, Padua, IT):
Lives and works in Padua.
In 1998 he graduated at the Padua's arts high school "Modigliani" and in 1999 he joined the Academy of Fine Arts of Venice where in 2004 he obtained the Diploma on Painting after he had attended a painting class held by Carlo Di Raco.
In 2000 in partnership with other students of the Academy - Giorgio Andreotta Caló, Jasa Mrevlje e Peter Furlan - he created "Crash in progress", an artistic collective with which he exhibited in several museums, private and public organizations in Venice such as the Museum of Modern Art "Ca Pesaro", the Bevilacqua La Masa Foundation, the Thetis Foundations, the A+A Gallery and more than a project was also shown in Milan at the Galica Gallery.
In 2004 he was chosen to take part to the Biennale of the European and Mediterranean Young Artists thanks to a painting project that afterwards it was part of a personal exhibition in Mantova at Palazzo Te.
In 2007 he moved to Berlin where his involvement in photography begins.
Between 2007 and 2009 he created a photographic work about the European Capital cities called "Gran Tour".
In 2009 "Gran Tour" was shown at the National Centre of Photography in Padua.
Still in 2009 he joined the Magnum Photo Education's network taking part to two workshops, one held by Bruce Gilden (2009) and the other one held by Alex Majoli (2010).
Between 2010 and 2011 his photographic research is focused on the Balkan area. Outcome of that it was the self published book named "BalkanAF".
This book and the project belonged to it will be later on exhibited in different organizations such as La Casa Dei Tre Oci Venice (year 2012) and CaMEC Museum of Contemporary Art located in La Spezia (year 2013).
Since 2012 he works in partnership with Andreotta Caló realizing different photographic projects that will be afterwards exhibited in several museums, in particular the MAXXI Museum in Rome where they won the Italia Prize, first prize being part of the permanent collection even now. With Andreotta Caló he exhibited also at the Museum of Contemporary Art of Zagabria and at the SAMRT Project Space in Amsterdam.
In 2015 he collaborated with Jasa Mrevlje Pollock providing a photographic documentary of Jasa's artwork "UTTER/ the violent necessity for the embodied presence of hope", exhibited in the Slovenian Pavillion located in the Arsenale during the 56th Venice's Biennale of Art.
In 2016 a part of this documentary was exhibited at the UGM Maribor Art Gallery in Maribor (Slovenia) and afterwards it was published in the volume CHRONICLES/ Log no. 1:
"UTTER/ the violent necessity for the embodied presence of hope".

Dieses selbst verlegte Buch des italienischen Fotografen Simone Settimo steht einerseits in der Tradition der ganz großen Fotografen, die bereits New York und seine Bewohner hinreichend porträtiert haben.
Und dennoch schafft es Settimo, dem bereits Gesagten etwas hinzuzufügen, dass neben der Dokumentation manches Mal verloren geht: Emotionen festzuhalten, sowie den Moment festzuhalten, in dem New York kurz innehält und fest steht.
Dieses Buch ist ein Muss für New York-Liebhaber, aber auch für Liebhaber der Schwarz-Weiss-Ästhetik, denn das Buch ist nicht nur toll editiert, sondern auch ungewöhnlich gut gedruckt. Und das in einer Auflage von nur 300 Exemplaren, jedes nummeriert.


"Wir sind so oft von Reportagen von der Lebendigkeit der Stadt New York in seiner ständigen und in ständiger Bewegung konfrontiert, so dass diese Bilder bereits Teil unseres kollektiven Bewusstseins sind: wir tragen ein aus Ikonen bestehendes Gepäck.
Aber das Geheimnis der eifrige Transformationen, die sich ruhelos in New York bewegen, kann immer noch die Sinne eines achtsamen und aufmerksamen Auges ansprechen.

Wenn die Stadt bewegt, können die Augen besser sehen, indem sie sich ebenso bewegen.

Es ist diese Bewegung, durch die Simone Settimo den Strom der Ereignisse New Yorks festhält. Er hält die Bilder fest, während er von den Ereignissen gefangen wird. Daher sind die gefangenen Phänomene geleichzeitig flüchtig und für einen Moment herrscht Stabilität. In Settimos Fotografie können wir einen Eindruck von einem Perpetuum mobile bekommen.

In "Do you remember me? ..." ist die wirklichkeit ein Werden.
Mit "Do you remember me? ..." schafft der Fotograf Haltepunkte im Werden.

Settimos Ziel ist nicht, die Realität durch die Fotografie zu analysieren, gleichwohl dokumentiert er nicht einfach die Realität mittels Fotografie. Er hat die Augen für diesen Moment, indem es ein flüchtiges Gleichgewicht gibt zwischen dem Vorher und Danach.

In diesem flüchtigen Gleichgewicht ist die Landschaft menschlich. Und, besonders wichtig, der Künstler ist befähigt, diese Landschaft zu interpretieren, und dabei die soziale und anthropologische Analyse zu vermeiden.
Es gibt Platz für Emotionen.

Dies, in einer Welt - und in einer Stadt - deren Darstellung bereits fest steht." (frei übersetzt nach dem Text von Michele Drascek)