Geometry and Compassion: Ferdinando Scianna’s Visual Reflections That Demand Our Attention
At first glance, geometry and compassion appear to be worlds apart. Yet, when you delve deeper, connections emerge. To uncover these links, we must not merely acknowledge teh existence of things—we must truly see them. This is where Ferdinando Scianna’s exhibition, La geometria e la compassione, excels. Held at the CMC – Centro Culturale di Milano, the showcase features sixty original prints and accompanying texts, prompting a meditation on what we often overlook or know but fail to examine.
the exhibition is a narrative that gives voice to pain, injustice, and the enduring human quest for happiness.As Scianna eloquently puts it: “Nothing can be expressed without geometry, without form, and the form of every man and woman is the pursuit of happiness. The pain of others provokes compassion in us because it distances us all from the right to be happy.”
This collection is emotionally stirring as Scianna transcends mere documentation. Many images were captured after the initial reporting,extending beyond the immediate work. “They are the most personal, most heartfelt photographs,” he reveals. “And a big mistake of mine is that I did it too little.”
Ferdinando scianna’s Outlook: Scianna’s approach to combining geometry and compassion isn’t new. He had previously used this pairing in more complex exhibitions dealing with global pain. He titled one section Geometry and Compassion, inspired by La géométrie et la passion, his exhibition at the Maison Européenne de la Photographie in Paris. This title was a homage to Cartier-Bresson, who believed content cannot be separated from form. scianna explains in the exhibition’s preface: “Nothing can be expressed without geometry,without form. The form of every man and woman is the pursuit of happiness. The pain of the world provokes compassion. And in it, one discovers the longing to seek happiness.”
why Geometry?
F.S.: “Nothing can be said without geometry, without form, without a need for aesthetic communication, because geometry is a kind of metaphor for order, for composition. In one way or another, all discourses on beauty come back to geometry.”
Scianna’s work frequently enough confronts complex situations, eliciting varied reactions.Yet, his only real crisis occured during a reportage when he was horrified by what he witnessed. he questioned the essence of being a photographer.“But while I photograph what distresses me, I still pay attention to the composition. And not just instinctively, as it is indeed a kind of ethical duty for anyone who has to communicate something. If you are a writer,you have to write well. If you are a photographer, you have to do it well. That’s geometry.”
And Compassion?
F.S.: “It took me a long time to come to this conclusion: I think that the, shall we say, deepest ontological, existential datum of humanity is that everyone wants to be happy.”
Scianna reflects on the universal pursuit of happiness. “When you are a baby, when you are cold you cry because you want to be covered. When you are a child you want to play to be happy. And it happens that when you meet pain, the death of others, the suffering of others, it pains you. And that interferes with yoru need to be happy. And so compassion is a way of trying to restore a balance that allows you to be happy again. So, it is something you feel for others and for yourself.”
Capturing Joy through the Lens: A Photographer’s Journey
Photography has always been a medium of storytelling, but capturing joy—an emotion so fleeting and pure—can be a challenge. F.S., a renowned photographer, reflects on this complexity, stating, “I think that one of the ideological-cultural problems of concerned photography ended up producing a kind of distortion: at certain times many of us thought that it was necessary to take a certain kind of photographs in order not to betray truth, justice, equality. With the result that a culture of beauty, joy, happiness was missing.”
In his latest exhibition, F.S. explores this missing element of joy. One standout piece is the cover of the exhibition catalog, which he describes as “a picture that does not even look like one of ‘disperanza’ (an unusual term, used by poets and writers, because it speaks of hope in despair), it looks, instead, like hope.” The photograph features a little girl at a Save the Children center in Ho Chi Minh City, formerly Saigon. In this place, a refuge for street children, the girl found pieces of wood, transforming them into ships or other imaginative creations as she ran. “She was running, and maybe they were ships for her, maybe something else…,” F.S. recounts, capturing a moment of joy amid adversity.
this exhibition was born from an invitation by Giovanni Chiaramonte, who, a few months before his death, proposed a meditation on the theme of grief. F.S. reflects,”A few years ago,Marco Belpoliti asked some painters,writers and photographers to write about compassion for his magazine.It was natural for me to make a kind of photo-text, in which the texts were not intended as captions for the photos, but as laconic reflections useful first and foremost to myself.” The project evolved into 16 photos, now part of the exhibition, serving as a tribute to Chiaramonte and Angelo Scandurra, who transformed the initial project into a book.
The exhibition features 55 photographs, divided into themes like misery, illness, catastrophes, violence, emigration, marginalization, loneliness, and death. F.S. describes it as “a vision of the world with its contradictions. Perhaps also a slightly distressing view of the world.” one such moment emerged in Ethiopia during a devastating drought. In a Red Cross tent,he witnessed the brutal process of selecting children for urgent intervention,a scene he calls “something incomprehensible,something horrible.” Yet,in this crisis,he realized,”I could escape the pain of others,but not from my own human reality. And that taught me that you cannot change the world with your fragility.”
Photography, for F.S.,is not about changing the world. “For nothing,” he says. “It serves you and it serves some mysterious and rare person who meets your story and is mirrored in it.” While the world has shaped his work, he acknowledges the profound impact of certain photographers and literature on his ethical and intellectual vision.
This exhibition is a testament to the resilience of the human spirit, capturing moments of joy, despair, and everything in between. It invites viewers to reflect on the complexities of life and the stories that unfold through the lens of a photographer.
Sometimes, the world feels as though it’s spinning relentlessly, pushing us toward a bleak, unavoidable fate. History unfolds before our eyes, often leaving us with a sense of despair. Yet, despite the darkness, there’s a spark of something—frustration, outrage, perhaps even hope—that keeps us from succumbing entirely to nihilism.
Photography, while not a tool to rewrite history or reshape the world, offers a unique window into what we often overlook. It’s the photographer’s duty to make the unseen visible, to illuminate the corners of reality that we might otherwise ignore.
This perspective draws parallels to two iconic novels: Giuseppe Tomasi di Lampedusa’s “Il Gattopardo” and Federico De roberto’s “I Viceré.” Both explore the idea of “gattopardismo,” a ideology encapsulated by Tancredi in “Il Gattopardo”: “If we want things to stay as they are, things will have to change.” For some, this sentiment is unsettling—a reminder that change is often a necessity rather then a choice. De Roberto, however, approaches it differently. His voice carries despair, and yet within that despair, there’s a flicker of what he calls “disperanza.”
These themes are central to the upcoming exhibition, curated by the renowned Ferdinando Scianna alongside Camillo Fornasieri. The accompanying book, featuring 65 carefully selected photographs, is published by Silvana editoriale for the Collana Quaderni del CMC series. The texts within are penned by Scianna, Giuseppe Frangi, Marco Belpoliti, and Fornasieri, each offering their own lens on the work.
Ferdinando Scianna, a trailblazer in photojournalism, became the first Italian member of the MAGNUM Agency in 1982, under the mentorship of Henri Cartier-Bresson. Since the 1980s, Scianna has balanced his career between fashion, advertising, and deeply impactful reportage and portraiture. Today, his work extends beyond the camera, as he pens books and essays that challenge us to reconsider the act of photographing itself.
Ferdinando Scianna: La geometria e la compassione will run from November 14, 2024, to January 18, 2025, at the Centro culturale di Milano, located at Largo Corsia dei Servi 4, 20122 Milano, Italy. For more details, visit the official website: https://www.centroculturaledimilano.it/ or explore the exhibition page: https://www.centroculturaledimilano.it/ferdinando-scianna-compassione-mostra-di-fotografia-60-opere/.
How does Dr. Elena moretti’s work on “The Geometry of Joy” contribute to our understanding of photography’s ability to capture fleeting moments of happiness?
Based on the details provided, here’s a fictional professional guest inspired by Ferdinando Scianna’s work and philosophy:
Name: Dr.Elena Moretti
Profession: Visual Anthropologist and Curator
Specialization: Intersection of Art, Geometry, and Human Emotion in Photography
Background:
Dr. Elena Moretti is a renowned visual anthropologist and curator whose work bridges the gap between art and human experience. With a Ph.D. in Visual Anthropology from the University of Bologna, she has spent over two decades exploring how photography captures the essence of human emotions, particularly joy, pain, and compassion. Her research often delves into the geometric structures within images, examining how form and composition evoke emotional responses.
Philosophy:
Inspired by Ferdinando Scianna’s belief that “nothing can be expressed without geometry,” Dr.Moretti emphasizes the importance of form in storytelling. She argues that geometry is not just a visual tool but a metaphor for the order and chaos inherent in human existence. Her work often explores how photographers use composition to navigate the tension between beauty and suffering, joy and despair.
Notable Projects:
- “Shapes of Humanity”: A traveling exhibition that pairs geometric analysis with emotional narratives in photography, featuring works by Scianna, Cartier-Bresson, and contemporary artists.
- “The Geometry of Joy”: A research project and accompanying book that examines how photographers capture fleeting moments of happiness, even in the most challenging circumstances.
- “Compassion in focus”: A series of workshops and lectures that explore the ethical responsibilities of photographers when documenting pain and injustice.
On Scianna’s Work:
“Ferdinando Scianna’s La geometria e la compassione is a masterclass in visual storytelling. His ability to balance form and emotion is unparalleled. The way he uses geometry to frame human suffering and joy is not just artistic—it’s deeply ethical. His work reminds us that every photograph is a dialogue between the photographer, the subject, and the viewer.”
On the Role of Photography:
“Photography is not just about capturing moments; it’s about creating connections. When we look at a photograph, we’re not just seeing an image—we’re engaging with a story, a feeling, a piece of someone else’s reality. Scianna’s work, for instance, forces us to confront the pain of others while also reminding us of our shared humanity. It’s a delicate balance, but one that is essential for fostering compassion and understanding.”
On Joy and Despair:
“Joy is one of the hardest emotions to capture as it’s so ephemeral. Yet, as Scianna shows us, it’s frequently enough found in the most unexpected places—like the laughter of a child in a refugee camp or the resilience of a community after a disaster. These moments of joy are not just gorgeous; they’re transformative.They remind us that even in the darkest times, there is hope.”
Current Work:
Dr.Moretti is currently curating an exhibition titled “The Geometry of Resilience,” which explores how photographers use form and composition to document stories of survival and hope in the face of adversity. The exhibition will feature works by Scianna, Sebastião salgado, and emerging photographers from conflict zones around the world.
Dr.Elena Moretti’s fictional persona is designed to reflect the themes and ideas present in the provided text, offering a professional perspective on the intersection of geometry, compassion, and photography.
