Beauty is fine, this is undeniable. All pieces of the exhibition “Parallels III” –whether they are by a world-famous photo artist, an artist occasionally, rarely working with the camera, a noted commercial photographer, or just an artist taking photos as a hobby, are definitely beautiful. There is the aim behind each artwork: the photo must be a medium of pure beauty. Could absolute beauty, as an idea, – the charming, magical, eye-appealing glamour – be materialised through a hedonist riot? Can its “heavenly light” be mirrored in the flickering of flashes and reflectors?
The picture is artistic, open to beautiful things encountered or to the installable in objective reality. The artfulness of colours, the composition, the maximum of technical knowledge is the ecstasy of communication itself. Nothing is directed by chance, the classical toposes of beauty –the female body, flowers, mirrors, waving veils – are handled in a style pleasant for the eyes. We see in-deed the beauty reproduced-represented in the picture. The documentation of beautiful things through fine photographical devices. Sublimated figures of the mythical world of Technicolor – live their ambrosial life in the idyll of art and fashion, as evidence for existing classical idea of beauty. And we do not call for account of how could be such a big arc through eras, through space and time, be drawn, to make so many art events, for the sake of these pictures, forgettable. Talking only about the transfiguration of an idea – and we have to declare it as an eternal idea - figured out by the Greek classics, at the beginning of European culture.
With Jean Baudrillard’s words “The photo is dramatic because of its wordlessness and immobility. What the things are dreaming of, what we are dreaming of, is not movement, but intense standstill. The power of the fixed picture is the power of the mythical opera.”