esiste viaggio senza fotografia, ma forse non esiste fotografia senza
viaggio": è in quel "forse" che si rivela l'assenza
della ricerca di Angelo Navarria. In un'ipotesi di lavoro e di esperienza,
dunque, più che in un'affermazione; nell'avvicinamento a un soggetto,
più che nella ripresa del soggetto; in un approccio problematico,
dubitativo anche, alla fotografia e alla sua storia, più che nella
rivendicazione di una poetica e di una genealogia univoche e acclarate;
nei confini, più che al centro.
a no journey can be undertaken without photography, so too, perhaps, no
photography can be done without having made a journey". It is in this
"perhaps" that the essence of Angelo Navarria's exploration is
revealed. More in a working hypothesis and experience rather than in a statement;
in the approach to the subject rather than in its portrait; in applying
a method of a questioning and taking a critical stance towards photography
and its history rather than making claims to any singular poetic expression
or distinct traditional line, more at the edge than in the middle.
The 40 photographs in this volume are, of course, travel photographs. But they are , perhaps, photographs of an inner journey that materialized within the images taken of the outside, of a reality that, although true, is a projection of Navarria's intended artistics vision . While part of the Italian landscape tradition - reminding us of Ghirri in some photographs or Jodice's interpretation of certain natural phenomena - Navarria also unexpectedly revisits icons of an almost neorealistics world - the dive into the sea , children playing Navarria directs his view in an fantastic manner, lending the images in airy, magical appearance, which perhaps might not have displeased Tzara ( the Tzara that reads Man Ray, of course). Clearly, then, it is not a simple and plain matter of intellectual homeage, but rather a question of a capacity to rework the past, transforming it into the present, as one interprets on ereality and changes it into another, turned inwards.
This proves , however, that is it not necessary to gaze at one's own navel, one's daily living and circle of family and friends, photograph it (perhaps badly) in order to declare oneself a contemporary artist. Being contemporary artist can, and perhaps should, mean being able to embrace a wide vision of the world, of worlds other than our own, and to draw from them if not the essence, at least the basis for an attempt at interpretation. In this sense, Navarria's photographs are "perhaps" photographs of a journey. Because in reality the predisposition to travel - and so to accept alienation, the loss and rediscovery of oneself - that pervades these images enlivens them with the pulsating heart of experience. [..]
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