around found photographs / 73 subjects / SOMMARY /
Anonymous turbulences /
phOTOGRAPHIC RELATIONS FROM THE SOMEXKI COLLECTION / 8 topicS / CURIOSITY / FANTASY / IDENTITY / THE NIGHT / PHILOSOPHY / PHOTOGRAPHY / SOCIETY / TIME /
PHILOSOPHY / 3 TOPICS / 9 SUBJECTS / FEAR / SOCIAL PHOBIA / PLAY WITH FEAR / THE LITTLE RED RIDING HOOD / THE BEAUTY AND THE BEAST / SERENDIPITY / SERENDIPITY / NEW YORK BY CHANCE / COINCIDENCES / OTHERNESS / ASPIRATION TO LOVE / COUPLE DESIRE /
PHILOSOPHY / serendipity / SERENDIPITY /
Can some details forgotten in the mill of our mind
delicately reveal how things would have gone wrong by chance
Works by / Zorah somexki / PICTURES FROM THE GHABOR COLLECTION /
QUESTIONS BY ALEX SVI
if emotion is a recognition and if we go down into the burrow of our unconsciousness to untangle the gnarled points of our history, what are we likely to find in our heaps of hidden subtleties and stowaways
Does emotion also happening haphazardly from the recognition of our fiascoes
Can the details forgotten in the mill of our mind delicately reveal how things would have gone wrong by chance
to be alive, is it a battle, a dance, a celebration, a tragedy, a chance...
if fate doesn't make house calls, what time to go there yourself without it bothering you
If we want to give oxygen to our lives, do our emotional abysses engage us in refreshing mental adventures
A long series of meetings: does it give meaning to the cards that have come before us here and there
should we be willing to risk being nothing to find everything
We all have a cubic centimetre of luck that appears from time to time before our eyes. Is the difference between an average man and an artist that the artist is aware of being vigilant so that when his cubic centimetre emerges, he has the speed, and the agility to embrace it.
is it better not to wrap philosophy in a magnificent inconceivable mystery and then base it on our perception, without anything to guess
Life always offers us other possibilities: does it invite us to move on
Has danger conditioned us to live by chance? Do all our pleasures depend on it. Even if I manage for a pleasure; and I look forward to it, is my eventual pleasure always a matter of risk? Wherever time passes, is there a danger?
Is not an event more significant and noteworthy the greater the number of fortuities necessary to bring it about
BACKGROUND
Chance and chance alone has a message for us.
Everything that occurs out of necessity, everything expected,
repeated day in and day out, is mute.
Only chance can speak to us.
Milan Kundera
The Unbearable Lightness of Being
With Anton Ehrenzweig, in The Hidden Order of Art,
the creative process is described as a temporary, obligatory psychosis.
That the artist is "crazy" is therefore not a coincidence: it is a necessity.
Most often, he will not remain in a state of madness;
he will only pass through it; sometimes he lingers.
But his artistic standard still requires him to go through an essential syncope,
a real collapse of the mind, from which the new will come out.
Better: from this chaos only the new can emerge.
This eclipse that breaks the consciousness is the very condition of the creative act
Catherine Clément
La syncope
I usually work really instinctively
and it's afterwards that I think about what it means.
I don't know consciously that I have these themes that run through my work.
Nan Goldin