In 1977 appeared On Photography, the essay collection signed by Susan Sontag that has become a landmark, being often considered a referential guide for many texts related to photogrphy in order to define approaches specific to the medium. Even if also this text begins with the same mention, in this case the core of the events is located on a level farther form the photography that many are familiar with.

The exhibition On Photography…and Few Other Things is an assemblage of works that are born from explorations and approaches which rather seems to gain distance than to approach (or to remain faithful) to the On Photography root. However, the works don’t dissociate from the medium, actually I would say quite the contrary: the researches behind them strengthens and reconfirms their appartenance. The show is built around a selection which moves concentrically towards a perspective capable of defining those ''...Few Other Things'', or at least some of them. We encounter practicies that are still directly related to photography but engaging on a new path of  interpretations and solutions. Those who exhibit are all very young and all artists, maybe even without realizing it or craving it. The works are immediate and present, most of the time robed in a form of abstraction that does not meet the sphere of what is immediately recognizable or expected. We are not talking about a generational portrait but rather about a sketch wich in the frame of this text does not require the kind of individualization offered by a list of names and surnames. The selection must be regarded as a whole; as a moment when everything happens, like a sound that needs no explanation but which arouses interest and curiosity. If the 1997 video portrait built around Bruce Nauman's figure was titled ''Make Me Think'', I believe that the vibration related to this exhibition becomes a hybrid between that Make Me Think and a following (and necessary) Make Me Feel. A spectrum in which post-photographic and experimental approaches are highlighted, some of which are in contrast to the straight-photography I grew up with and from which I admit that I have not  yet been able to detach myself.

We do not seek or claim demystifications. We embrace the illusion without fighting it: we breed and preserve it. The gallery space becomes a cave where the artworks achieve the status of shadows related to shapes that we can only try to guess and, eventually, to associate with  landmarks of a reality that may begin to seem even boring. It is the well-known allegory, of course, but an alternative version  fueled by the gleam of an inner light that allows us to conceal the present and to bypass an area of almost coarse and unwanted tangibility, calcified around the everyday and the predictable. These works ''allow us'', they pulsate and inflame a dull imagination wrapped up in conventions, pushing us to see things even where they do not exist and will never exist.

Starting from personal histories, archival materials, objects derived from 3D scans or images generated by artificial intelligence , manipulations, interventions, collages or photos that apparently do not tick the recipes of "correct images", the exhibition hosted by Strata Gallery becomes an oscilloscope that responds to a common frequency, granting a necessary gust of fresh air. The works proposed by the 13 artists core are palpable as a memory, one in which we can still be brilliant and irresponsible as in childhood.