Milan ordinary landscapes. Centro Leoni #3

Milano, Centro Direzionale Leoni

I've mentioned several times my vicinity with conceptual art as a mean to have some control in what I would call the photographic performance, the one each photographer performs when taking pictures. In some ways, in landscape, the photographer's performance overlaps with land, body art and even dance as I pointed out a few posts ago.
Conceptual art introduced a procedural way to operate, to make intentional sides of the artistic practice other ways shadowed by routine doing. Conceptual art may be suspected to have a high degree of boredom associated, it is not always the case as explained in this article: "Paragraphs on Conceptual Art" by Sol Lewitt that I have enjoyed reading for its clarity and concision. The intro is a pearl by itself and an important point in the attribution of a theoretical dignity to the artist's doing.

Milan ordinary landscapes. Centro Leoni #2

Milano, Centro Direzionale Leoni

Recently I've posted a reference to a Minor White article on equivalence. The argument was about what to look as visually shareable among subjective views of the world. But here is a somewhat different point of view from Edward Weston. Reading and comparing the two articles a clear difference in approach emerge. While one is more passively oriented toward what comes in the other explores proactively.

Milan ordinary landscapes. Centro Leoni #1

Milano, Centro Direzionale Leoni

I've casually got to this place. While I was looking at it asking myself how to render the impression that made me stop, a group of runners appeared out of nothing. At that point I could not resist. The low contrast and the smooth yellows where attracting even if the light was a bit lacking in contrast. Generally a picture classified as a landscape is expected to represent something lasting, or at least static, but this is only a cultural expectation, a projection, so to say, of our desire to possess even the time and control it. Much of the landscape freely published or taken with compact cameras or by compulsive clicking is nothing more than an abstract try in appropriating of something that in some way resonates with a memory or an experience or even an idea. It does not take that much to understand that there is a profound difference between trying to share a vision and trying to possess something.