Abandonment is a possible catastrophe, when falls, breaks, sediments, abandonments, chaos, ruptures, a possible destruction, that announces, existence, memory, as long as there is nothing—the crack. If not, then the index, noted for a brief moment, inscription of all the possibilities, constitutes one by one, at different times, multiple possibilities, does not constitute a mystery, just …
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Abandonment is a possible catastrophe, when falls, breaks, sediments, abandonments, chaos, ruptures, a possible destruction, that announces, existence, memory, as long as there is nothing—the crack. If not, then the index, noted for a brief moment, inscription of all the possibilities, constitutes one by one, at different times, multiple possibilities, does not constitute a mystery, just residue—the atlas. In the pauses, an extrinsic sentimentality, free, indirect goes unnoticed, in certain surprises, add that a little, in the pauses, the familiar pauses in, in what crosses—the memory. [...] — Éric Suchère Rien, presque presents a body of fragmented images and views that draw their iconography from public spaces or from motifs specific to modernity. These images somehow represent demarcations in the urban landscape that function like minimalist sculptures generated by human actions. Mazzoni considers them as traces of daydreaming, catalysts of poetic resistance, little time capsules illuminating the world. Like the philosophical thought of Vilém Flusser, this book is about “the state of things”, the relationship between things being more significant than the things themselves. We discover in these images the aestheticism inherent in what is close to us, in the banal, in everyday life. While flipping through the book, relationships become visible between the initially disparate images. The recurring shapes are invisible connecting lines that condense into an abstract narrative.
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