THE SENSORIAL MASS.
a photographic archive of blegen’s excavations at prosymna
“The pursuit of forms is only a pursuit of time, but if there are no stable forms, there are no forms at all.”¹—Paul Virilio, The Aesthetics of Disappearance
In the wake of archaeological photographic images, we may begin to decipher Paul Virilio’s conception of the sensorial mass: how the stabilized form of an excavated artifact becomes eternalized within the cage of a photograph. If photography functions as a penetrative method to assert an influence of cementation, then the decisions that remain unspoken—placement, framing, repetition—are prolonged in time. In this stillness, a series of anomalies accumulate.
FRANCISCO CANTON, Offset
Athens Design Forum presents Argentinian photographer and director Francisco Canton’s series, Offset, a penetrative entry into the forensic rhythm between frames. "The choreography of these images arises from a limit I impose on myself," Canton notes, "using timing and sequence to create a rhythm and sense of continuity in the work." Repetition reveals rupture and familiarity becomes estrangement, evolving forward in the innocuous presence of a metronome.