Dionisio González: Acqua Gasosa I / Nova Acqua Gasosa I

The exhibition consists of two very large formats, nine meters long in three panels, major works of the artist.

Starting with the subject of Favelas is a strong artistic statement for a photographer. The very poor urban suburb of São Paulo in Brazil is the perfect subject for documentary photography with its ethnological, sociological, political, urban planning, architectural and voyeuristic contents. At first glance, the photographs appear to be objective descriptions of urban locations. The images illustrate life in the favela and its constructions. Each composition is the same: a frontal view of a street or a group of houses. He respects the aesthetics of many photographers such as Ed Ruscha, Bernd and Hilla Becher, to name a few. However, some parts of the constructions resemble the recent architectures of the last two decades, so that the viewer begins to question the image.

Working with various creative software on his computer, González weaves imaginary architecture or elements of modern and contemporary architectures into the structural patchwork of the slum, striking the real with the virtual. The photographs condense in a single moment, in a single image, cumulative succession of creative stages that consume a lot of time and information. As a post-digital artist, Dionisio González exploits the field of photography and challenges the preconceived neutrality of the medium and its presuppositions of objectivity. At the same time he defines himself as a photographer while also being a virtual architect. Young Brazilian architects began to insert contemporary architectures into the favelas in ways similar to those of Dionisio González.