Evanescentium Memento

Sofia Dalamagka
July 22, 2022
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How is it possible, that you can buy at second-hand shops only with a few euros, pictures that promise eternal happiness, like wedding photographs, the birth of the first child, his first Christmas? Birthday photos, memories, one-day excursions, family moments all full of dust, scarred from time passing over them and ending up in a vast cemetery of pictures. What is photography after all? A fake contract with eternity or the birth certificate of reality which reveals the temporary personality of a memory? Thrown away-abandoned-forgotten pictures of unknown people. In garbage bins, in antique shops, inside decaying houses. Pictures-images of a splitting childhood from which you try to escape even as an adult through corruption and reconstruction. Documentation of memories which transform into evidence of oblivion and abandonment. Human experiences which depict with time, detach. They are cut into pieces and become part of another history. Recreation evolving. We recreate memories through pictures, we define our feelings through a lens, we record frantically in an objective-subjective way I dare say, the violent passing of time. The lens becomes the third eye. Justification or desecration their creative re-use? Corruption of a forgotten era or just a death certificate of a past reality? The desire to see beyond the obvious reflects in this project. We project our own needs on pictures. We demand from them. We constantly talk about the power they have, how they make us feel, as if they are alive. We look at them and expect a miracle to happen. I wonder, what do the pictures want? In this particular unit, the roles revert. The pictures ask for and demand. To consider them as an independent and complex presence with many subjects and multiple identities. The pictures ask. They want to be asked, what it is they want. The question changes every time, the answer remains always the same though. Nothing at all. They want nothing more than to make you wonder.

Born in Lamia, in 1984. She lives in Arkitsa, a tiny village in Greece. In 2011 she attended photography lessons at the "Zografou Artistic Workshop" in Athens. In 2017 she was an editor for "IFocus.gr" and" Freethinking.org." Through 2017 to 2018 she attended the "Supplementary Education Program" of the "National Kapodistrian University of Athens" "Photography at Work Advertising" (online course). In 2018 she completed by remotely attending "Seeing Through Photography" from the "Museum of Modern Art" in New York (MOMA) and "The Camera Never Lies" from the "University of London" via the platform Coursera. In 2019 she was an editor at Photologio.gr and completed by remotely attending "Modern Art and Ideas" from the "Museum of Modern Art" in New York (MOMA) ( online course). In 2020 she completed by remotely attending the "Education Seminar of Planning and Revisal of art exhibitions" (Culture webinar), "Sexing the Canvas: Art and Gender" in "University of Melbourne" (online course). In 2021 she completed by remotely attending "Words spun out of images: visual and literary culture in 19th century Japan" by "The University of Tokyo". Since December of 2020 she is an exterior associate of the printed magazine "PHOTONET" while she has curated the Group Photography exhibition of the Corfu Photography Team "Fotoclick", titled ¨Mental Illustrations¨ (Noeres Apeikoniseis-Νοερές Απεικονίσεις)
Sofia Dalamagka
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