作品“照相机Obscura”是为SMACH.IT在特伦蒂诺的白云石，在瓦尔巴迪亚的圣马丁诺，在“边境”的土地艺术竞赛而创作的。一段时间以来，我一直在研究​​使用镜头和将作品融入景观的想法。

The work "Camera Obscura" was created for the competition SMACH.IT  competition of land art in the Dolomites in Trentino, in San Martino in Val Badia, on "Border". For some time I worked about the idea of ​​using lenses and building works into the lands

 Courtesy of Mariano Dallago

马里亚诺·达拉戈

一开始很久以前就开始阅读“孤独的一百年”G·马奎兹(G.Marquez)。我喜欢这样想，当奥雷利亚诺说阿玛兰塔时，他谈到了摄影，他说：“科学上有可能看到未来的暴徒，就像人们看到一张纸背后的光一样。”

The beginning was born long ago reading “One Hundred Years of Solitude”  G.G.Marquez. I like to think that when Aureliano speaks Amaranta “scientific possibility of seeing the future showing thug in time as one sees what is written on back of a sheet of paper through the light", he talked about photography.

 Courtesy of Mariano Dallago

马里亚诺·达拉戈

然后看看埃托尔·索特萨斯(Ettore Sottsass)的“隐喻”，他的户外装置也是如此。最后，意大利卡尔维诺的灵感在20多年前谈到瘟疫流行时说。

Then looking at the "metaphors" of Ettore Sottsass, his outdoor installations too. Finally the inspiration about Italo Calvino when more than two decades ago spoke of an epidemic of pestilential images saying that.

 Courtesy of Mariano Dallago

马里亚诺·达拉戈

我们生活在大量的图像中，最强大的媒体除了把世界变成图像并通过镜子的游戏来繁衍世界之外，什么也不做。这些图像通常没有内在的必要，应该将每一幅图像描述为一种形式和意义，作为一种力量来证明自己是一种丰富的可能意义。这些图像中的大多数会像梦一样瞬间消失，这些梦在记忆中没有留下任何痕迹，但并不能溶解一种陌生和不舒服的感觉。

We live under a heavy barrage of images, the most powerful media do nothing but turn the world into images and multiply it through a game of mirrors, the images that are often devoid of inner necessity that should characterize each image, as a form and as meaning, as strength to assert itself as a wealth of possible meanings. Most of these images dissolves immediately as the dreams that leave no trace in the memory, but does not dissolve a feeling of strangeness and discomfort.

 Courtesy of Mariano Dallago

马里亚诺·达拉戈

在这里，这些是参考资料，随着时间的推移，我工作的“相机Obscura”。在风景中建造一些伟大的东西，在镜子中反射景观，我终于意识到，只有在眼睛里，最重要的是，在观察者的脑海中，没有永恒的形象。

Here, these are the references that over time led me to work on the "Camera Obscura". Build something great in the landscape that would reflect in a mirror the landscape, and I finally realized no permanent image just in the eyes and above all in the mind of the beholder.

 Courtesy of Mariano Dallago

马里亚诺·达拉戈

我喜欢建立一个不拍摄照片的相机的想法，但那看起来只是一张假想的照片。

I liked the idea of building a camera that doesn’t do the photos, but that leaves look just an hypothetical shot.

因此，“边界”的主题是邀请人们进入图像世界，以及进入照相机内的光线。进入相机，就像你在摄影项目中看到的那样，在真实和图像之间，在真实图像和潜在图像之间，在真实和它的再现之间，通过一条线。

The theme of the "border" is therefore an invitation to enter the world of images, as well as the light gets inside a camera. And entering into a camera as you would get in a photo project and pass the line between reality and image, between real image and latent image, between the real and its reproduction.

 Courtesy of Mariano Dallago

马里亚诺·达拉戈

“照相机Obscura”最初是在Rhino设计的，然后在Silvia和Lucano Paschetto的帮助下建造，安装在细木工中，然后于6月初在Val Badia的San Martino单独拆卸和重新组装，并将持续到9月12日。

"Camera Obscura" was first designed in Rhino and then built with the help of Silvia and Luciano Paschetto http://paschettomobili.it mounted in joinery and then disassembled and reassembled alone in San Martino in Val Badia in early June and will remain on site until 12 September.

很长一段时间以来，我不得不在廉价但耐天气的基础上建造一座建筑。歌剧它是用非常便宜的材料建造的，OSB(定向纤维板)和甲板CARPLY(桦木胶合板)防滑。背上的黑布粘在胶合板上。

I had to build a structure on the cheap but weather-resistant for a long time. The opera it’s built with a very cheap materials, OSB (oriented strand board) and decking CARPLY (birch plywood) antiskid. The black cloth on the back is glued to a plywood.

建筑周围的外部堆积物是杉树。我在镜头前面放了一个放大镜，在离镜头大约50厘米的距离上放了一张透光纸，在上面形成了投影图像。

The external piles that close the building are fir tree. In front I put a magnifying glass and inside, at a distance of about 50 cm from the lens a sheet of tranlucing  paper on which form the projected image.

Author Mariano Dallago

Location Strada Tor, 65, 39030 San Martino In Badia BZ, Italy

Category Other Structures

Project Year 2015