Gone from my sight
Gone from my sight is a tribute to photography: a photography that testifes to the complexity and fragility of human nature; a photography which decodes and makes reality intelligible but also which has the power to create fiction and arouse desire; a living and subjective photography, one that is witness of the passage of time towards oblivion, but also one that is objective, becoming a precious clue to an enigma; a photography which denounces social injustices, which accounts for and awakens consciences but which also, despite itself, produces a system of exclusion and phobias.
Gone from my sight reflects upon the richness of Mac Adams' work: from his first explorations in the Mysteries series, black and white diptychs from the 70s – works that are central in the history of narrative photography – to his installation Cartography of a Crime in which the association of more than 2000 archive images recreate a cognitive and social landscape; from the first experiments between sculpture and photography with Fragmented Mystery (1981), fictional stories or evidence, to the last series of images called The Liminal Body which draw the contours of a state between two states, where the image fades before being reborn. Finally, the last installation, created in 1981 and produced for the first time in this exhibition, The Last Waltz, created by combining text and music, offers an experience that is temporal, sensory and spatial.
Gone from my sight testifes to a work that never stops but, on the contrary, continuously invents and questions the different thresholds, between mediums, moments and realities.The exhibition is a more existential homage to photography because it reveals the dazzle of life; by grasping the moment, it attests that its subject was alive and suggests that it is already gone.