Der Greif X FUTURES: 3 questions to Claudia Fuggetti

We are delighted to introduce Claudia Fuggetti, one of the talents nominated by Der Greif, who will be joining FUTURES in 2024. Fuggetti's nomination comes for her thought-provoking series "Hot Zone," which captures the vividness of a lucid dream. This series immerses viewers in a delicate balance between fiction and reality, where photography serves as proof of the dream's existence, beyond the scientific relatively newly discovered "hot zone," or the part of the brain responsible for generating dreams.

Born in Taranto in 1993, after graduating in Cultural Heritage, Claudia Fuggetti attended the Master's degree in Photography and Visual Design at NABA, Milan. Subsequently, she graduated with honors in Digital Cultures at Accademia di Belle Arti di Brera. Her works have been exhibited at Les Rencontres de la Photographie Arles (FR), Fotofestival Lenzburg (CH), Copenhagen Photo Festival (DK), Rotterdam Photo Festival (NL), PhMuseum Days (IT), Geste Paris (FR), Giovane Fotografia Italiana (IT) and MIA Fair (IT). She is also one of the 150 emerging talents in Europe for Fresh Eyes by GUP Magazine and British Journal of Photography's Edition 365 winner.

Der Greif: What do you think photography has in common with the subconscious and the dream life?

Photography, the subconscious, and the dream life are interconnected through their ability to explore and reveal dimensions of our experience that elude rational control and conscious awareness. Photography captures fleeting moments and emotions, akin to how dreams and the subconscious capture fragments of experiences and feelings. Salvador Dalí, with works like “The Persistence of Memory,” and René Magritte, with “The Treachery of Images,” used dream-like elements to blur the line between reality and fantasy, a quality also present in the surreal photography of Jerry Uelsmann and the evocative images of Francesca Woodman. Cindy Sherman, through her “Untitled Film Stills,” demonstrates how photography can reveal and interrogate the subconscious and the unconscious, much like how dreams explore hidden realities. According to my point of view, both photography and dream life share a unique ability to explore and reveal deep, hidden aspects of our existence through images and symbols.

Der Greif: "Hot Zone" explores the limits and potential of Artificial Intelligence. How have you applied it?

"Hot Zone" (2021) is a project that delves deeply into the intersection of Artificial Intelligence and our understanding of consciousness and dreams. The centerpiece of this exploration is "Dreamachine" (2022), the most experimental component of the project. This video is generated through a neural network trained on a vast dataset of images of galaxies and planets, aimed at exploring the nature of dreams and the REM sleep phases. The choice to use a neural network stems from the theory that during REM sleep, the human brain constructs images from data accumulated during wakefulness. In this context, "Dreamachine" serves as an artificial document, attempting to capture and reconstruct the memories of what transpires during sleep. The use of AI in generating both the visuals and the accompanying sound is intentional. The imagery is created by analyzing and synthesizing patterns observed in cosmic phenomena, while the sound is generated through another AI system that follows specific auditory patterns. This fusion results in an immersive audiovisual experience that mirrors the complexity and surreal nature of dreams. "Dreamachine" reflects our current understanding of dreams, which have been increasingly linked to specific brain areas, such as the "hot zone" located above the nape of the neck. This project documents the unfolding of a lucid dream, blurring the line between fiction and reality, with photography acting as a form of evidence for the dream's existence. However, the current limitation of artificial intelligence is that it requires human intervention to be fed and guided. Consequently, anything not provided to the AI remains outside its "world." Despite this, theorists like Ray Kurzweil predict that one day machines could become fully autonomous, which will inevitably bring significant risks. This potential future scenario raises critical questions about how to manage the evolution of AI and its implications for our society.

Der Greif: How do you want your images to relate to viewers? Is there still room for photography and images to have an impact on humans, especially when not reporting on global social events, thus when not engaged?

My goal with images is to create an experience that resonates deeply with viewers on a personal and emotional level. The initial sense of wonder elicited by the images is merely a starting point – an input that may or may not prompt further exploration of the themes presented. I firmly believe that even images not directly tied to specific social issues can profoundly impact human perception and experience. Photography has a unique ability to evoke emotions, stimulate reflection, and inspire introspection. Through a more abstract or symbolic visual language, these images invite viewers to explore their inner selves and engage with new ways of understanding the world. Even when not addressing social or political events directly, images can communicate universal themes and truths, forging personal connections that transcend the immediate context. Indeed, the introspective journey offered by art has the power to lead to a deeper understanding of oneself and the nature of human consciousness. This reflective process often inevitably confronts broader issues, including social and political matters. Every choice and action, even those that seem trivial, reveals political implications, as each act reflects and influences the dynamics and structures of our society. Philosopher Michel Foucault, for instance, has examined how everyday practices and social structures are not neutral but imbued with power and relationships of force. In this sense, art, through its capacity to stimulate thoughts and emotions, can be viewed as a political act, as it contributes to shaping and reflecting our worldviews and positions within it. In my artistic work, particularly in the projects “Hot Zone” and “Metamorphosis,” I focus on environmental themes, reflecting my personal history and the social choices that stem from it. Many of my images are captured around my hometown, Taranto, an area severely affected by industrial pollution and dioxin emissions. Through my art, I aim to highlight both local and global environmental issues, intertwining my personal experiences with broader ecological concerns. We live in an era where distinguishing between real and manipulated reportage images is increasingly difficult. This raises crucial questions about how these images are presented and their often instrumentalized role. The current problem is that awareness of social and political issues is frequently filtered through a virtual and malleable dimension, no less influential than pre-computer propagandistic systems. The concept of ‘reality’ in the context of images has become highly debatable. In an age dominated by digital media, the ability to manipulate and curate images has reached a level where visual truth is often distorted. Susan Sontag addresses this issue in her essay “Regarding the Pain of Others,” discussing how images of suffering and war are used to elicit emotional responses but often lose their authentic impact due to media exposure and manipulation. Similarly, sociologist and philosopher Jean Baudrillard, in his theory of simulation, suggests that in contemporary society the distinction between reality and simulation has become indistinguishable. Media and virtual images, which should inform and raise awareness, often contribute to creating an artificial and manipulated reality where truth is compromised by representation. Therefore, the truth in artistic fiction can often surpass that of media ‘reality’.