Daniel Ackerman
Fotografismos
from July 4 to August 24, 2018
Curatorial text
Even when he is perceived as being very inclined to establish instant empathy with the explicit plasticity of the many features of the landscape, Daniel Ackerman achieves enough objective distance to detach himself from that fascination, so that his photos breathe a necessary, balanced naturalness, from a tributary conception of a certain classical orthodoxy in composition and framing.
At the same time, where your choice seems to be more visibly asserted, that is, in the scenic qualities of the subject, the strategic depth of field relies both on the precision of a surgical focus, when that care is essential, and on very careful handling. and strategic in the variation of the sharpness of the planes, in pursuit of a spatial rendering as reliable as it is surprising in its sudden lyrical abstraction.
Precisely, the three series that make up this show at OTTO Galería are complete examples of this dynamic oscillation. Suddenly, Ackerman abandons the perspectival point of view and logic to propose a contested plane, without horizon and, almost without exceptions, without reference to distances or vanishing points. There, the heterogeneous terrains that he encounters along the way urge him to pause in the surprising richness of features of his detailed physical reality, with that myriad pointillist of prodigious textures and linear rhythms that cut, surpass, sink or float on the pulsating surfaces . The result is an almost calligraphic detail and precision in the optical point of the image, which is to say in the detail that materializes the terrain and the atmosphere with a clarity that borders the limit of unreality.
And at the same time, this same fascinating descriptive materiality suddenly evades nameless into a zone of open language, as if the only thing it really shows is the constant change, the infinite variety of phenomena of continuous metamorphosis, the changing way of being. of the world, here converted, in unison, into a visual register and metaphor. There, then, is the illuminated half of the reeds in the water that coexists with the diagonal blackness that makes the pond a constructivist quote; there, a geometry of almost musical notations that defines the sky, the cloudiness, the multiple, exhausting combination of foliage and branches, and the lights and shadows, and everything that is reflected in them, while somewhere the irruption wakes up almost imperceptible of a modest, concealed poetry.
The exhibition that opens on July 4 at OTTO Galería, Paraná 1158 CABA, will remain on display throughout the month of July and part of August.
Daniel Ackerman
July, 2018
