{"id":4021,"date":"2026-07-27T13:57:30","date_gmt":"2026-07-27T13:57:30","guid":{"rendered":"http:\/\/danielhartlaub.com\/?p=4021"},"modified":"2026-07-27T15:07:02","modified_gmt":"2026-07-27T15:07:02","slug":"running-now-su-una-foto-ritrovata-on-a-found-photograph-group-exhibition-vsa-volcans-space-asso-italy-2026","status":"publish","type":"post","link":"http:\/\/danielhartlaub.com\/?p=4021","title":{"rendered":"Running now: SU UNA FOTO RITROVATA – ON A FOUND PHOTOGRAPH. Group exhibition. VSA Volcans Space, Asso, Italy. 2026"},"content":{"rendered":"

October 2025, Callao, Peru. It is here that I come across a publicity still from Phil Karlson\u2019s Tigh <\/span>Spot (1955). Among those pictured are the film\u2019s principal actors: Ginger Rogers, Edward G. <\/span>Robinson, and Brian Keith. Slightly worn and creased, the photograph emerges from another time.
\n<\/span>It looks back at us even as we look at it. Preserved within its frame is a situation suspended in time <\/span>and returned to us from a distant past, one we can only partially reconstruct through the <\/span>accompanying captions. For the viewer, it becomes a form of recovered time, functioning as a <\/span>Proustian madeleine that reactivates memory and experience.<\/span><\/p>\n

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Yet another temporality is at work here\u2014more elusive and inaccessible. It belongs to those who <\/span>inhabited that moment: the actors and filmmakers whose lives have now passed beyond our reach. <\/span>This is a time we cannot truly experience, as it remains bound to the singular existence of those who <\/span>participated in the making of the film. The photograph rescues from oblivion a specific instant: a <\/span>moment shared by the cast and crew during the filming of Tight Spot in Manhattan in 1954.<\/span><\/p>\n

Alongside the temporality fixed within the image exists another: our own present. We encounter <\/span>this photograph in 2026, bringing to it our experiences, memories, and projections. Through the <\/span>image, our lives become entangled with those of people from another era. One might also speak of a <\/span>third temporal dimension: the time activated by memory itself. This dimension is connected to the <\/span>lives and works of artists and actors whose films we have seen, whose creative activity we know, <\/span>and whose presence inhabits both our personal histories and the broader history of cinema.<\/span><\/p>\n

Time, then, does not move in a single direction. Rather, it unfolds across parallel planes that <\/span>intersect, overlap, and exchange places. Like cinematic dissolves, these temporal layers emerge and <\/span>recede, existing simultaneously inside and outside the image. What initially appears as a unified <\/span>visual document reveals itself, upon closer examination, as a complex stratification of material and <\/span>mental traces. These layers incorporate our own lives as well as those of others, engaging us <\/span>through the physicality of the object itself: the texture of the paper, the marks left by handling, the <\/span>wear of time, the stains and scars inscribed upon its surface.<\/span><\/p>\n

What unfolds before us is a kind of geological formation of memory. Within it lie dormant <\/span>fragments of experience\u2014ruins, absences, recollections\u2014embedded in what Walter Benjam in<\/span>termed Jetztzeit, the \u201cnow-time\u201d in which past and present suddenly converge.<\/span><\/p>\n

Why do such images continue to captivate us? Why do they activate these latent, almost messianic <\/span>mechanisms of memory? The answer resides within the question itself. To ask is already to begin <\/span>responding. The act of questioning contains its own form of knowledge; indeed, the answer may lie <\/span>precisely in the continual persistence of inquiry.<\/span><\/p>\n

It is at the point where question and answer become indistinguishable that reflection turns into <\/span>recognition. The sustained gaze opened by these temporal hinges is also an encounter with the <\/span>disorientation of recovered time\u2014time remembered, rediscovered, and continuously lived.<\/span><\/p>\n

The works of Barbieri, Hartlaub, Finelli, Martinato, and Scotti, each represented in this exhibition <\/span>by a single work, constitute both the prologue to and the unfolding of this experience of recovered <\/span>time. Conceived as a temporal hinge, the exhibition offers access\u2014inasmuch as art can provide it\u2014 <\/span>to those mnemonic intensities through which past and present enter into dialogue.
\n<\/span>(Bustos Domenech)<\/span><\/p>\n

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SU UNA FOTO RITROVATA – ON A FOUND PHOTOGRAPH<\/em>
\n<\/span><\/strong>at VSA Volcans Space Asso \u2013 Como
\n<\/span>Group <\/span>exhibition<\/span><\/span>
\n2026
\nBlack Drawings<\/a><\/span><\/p>\n

Running from June 20 \u2013 August 30, 2026
\n<\/span>Friday to Sunday from 3:00 PM to 6:00 PM by appointment<\/strong> \u2013 volcanospressmi@yahoo.it
\n<\/span>Via Andrea Merzario 18, First floor, 22033 Asso, Como<\/span><\/span><\/p>\n

Artists
\n<\/span><\/strong>Mauro Barbieri
\n<\/span>Daniel Hartlaub
\n<\/span>Pietro Finelli
\n<\/span>Lara Martinato
\n<\/span>Antonello Scotti<\/span><\/span><\/p>\n

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