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| sent on October 31, 2021 (15:15) | This comment has been automatically translated (show/hide original)
Despite being a test of a lens, I find this urban scene very interesting for the values of light and perspective it contains. It appears to me as an ancestral entrance to an ideal city of shadow that, even before gathering in its disturbing vanishing point, announces itself almost in the foreground in that mysterious skyline projected laterally on the walls of the buildings.
I imagine a striking overlap between Arnold Böchlin's "City of the deads" and Sebastiano Serlio's ideal one.
The political and economic criticisms of the urban structure that the ideal city of Serlio opposes seem to stop fatally in the cycle of life, of the passage of time, seem to remain suspended properly in this light-shadow scene captured by jorg.
I believe that for this reason jorg basically (and surprisingly instinctively) translates, in an image, this fatality, this disturbing dystopia. Despite being a test of a lens, I find this urban scene very interesting for the values of light and perspective it contains.
It appears to me as an ancestral entrance to an ideal city of shadow that, even before gathering in its disturbing vanishing point, announces itself almost in the foreground in that mysterious skyline projected laterally on the walls of the buildings.
I image a striking overlap between Arnold Böchlin's "City of the deads" and Sebastiano Serlio's ideal one.
The political and economic criticisms of the urban structure, that the ideal city of Serlio opposes, seem to stop fatally in the cycle of life, of the passage of time, seem to remain suspended properly in this light-shadow scene captured by Jörg Beschmann.
I believe that for this reason Jörg Beschmann basically (and surprisingly instinctively) translates, in an image, this fatality, this disturbing dystopia.
[ Benché sia un "test di prova d'un obbiettivo", trovo molto interessante questa scena urbana per i valori di luce e di prospettiva in essa contenuti.
Mi appare come un ancestrale ingresso ad una ideale citta dell'ombra che, prima ancora di addensarsi nel suo inqiuetante punto di fuga, si annuncia quasi nel primo piano, in quel misterioso skyline proiettato lateralmente sulle mura degli edifici ... evocazione, momento del ciclo della vita.
Immagino una stridente sovrapposizione fra la cittá dei morti di Arnold Böcklin e quella ideale d'una scena, comico/tragica, di Sebastiano Serlio ...
Le criticitá politiche ed economiche della struttura urbana, alle quali la cittá ideale di Serlio si oppone, sembrano arrestarsi fatalmente al ciclo della vita, dello scorrere del tempo, sembrano restare sospese propriamente in questa luce-ombra di scena colta da Jörg Beschmann.
Credo che per questo Jörg Beschmann traduca sostanzialmente (e sorprendentemente d'istinto), in una immagine,
tale fatalitá, tale inquietante distopia.]
Best regards,
Ben-G |
| sent on November 01, 2021 (22:44)
Nuremberg is a city from the Middle Ages. So there is also this tightness that is typical of the Middle Ages.
I don't like taking photos of the city. The residential areas are often only functional. In contrast, the old town seems almost kitschy with its restored houses. The whole thing is loosened up a little with building sins that corresponded to the zeitgeist of the time.
Nevertheless, I live in Nuremberg - it is the belief that I know every corner  |
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