The hypothetical period is a construction used to express a hypothesis from which a consequence can derive. In parallel, this is not an exhibition, but rather the hypothesis of an exhibition, born from one of the many possibilities that these artists bring to light.
Raising questions about the act of exposition, and consequently its intrinsic principle of selection, it challenges the photographic process itself.
As we recede from the idea that a single shot could ever be conclusive, what slides into focus is the overall limitedness of images, and, simultaneously, the infinite possibilities that they create.
That which is shown is never conclusive and, perhaps, the ambiguous magnetism of works of art radiates precisely from their relativity.
We could say that the common factor between the works of Cesare Ballardini, Achille Filipponi and Massimo Rezza is the sense of photography seen as a boundless peregrination, where the destination can't be, nor should to be, set beforehand.
Three apparently diverse methods, or non-methods, of inquiring around photography itself.
Setting out with an attitude which could be defined as "photographic skepticism", these three authors play with the sense of sight, between palindromes, fake multiples and imagery that proliferates like cells. The exhibition’s catalog, self published and produced in a limited edition with an essay by Daniel Blight.