Intelligenz durch Gefuhl

The work challenges the autonomy of portraiture by showing how individual identity is rewritten by the categories through which media communication claims to interpret the person. In the Portraits series, Zampogna transfers the method of appropriation from art history to the contemporary system of magazines, without merely placing two images side by side. The figure and the editorial fragment become competing registers of the same identity: what might appear as a singular presence is exposed to a public formula that connects intelligence and feeling. The title repeats that formula but does not confirm its meaning. Instead, it makes it an unstable key, suspended between popularising promise, emotional stereotype and a definition imposed from outside.

An orange dominant absorbs face, clothing and space into an almost monochrome surface, reducing depth and bringing the person close to the impersonal matrix of a printed image. Recognisability survives, but it no longer guarantees access to an integral subject. Over this already weakened presence, the insert bearing the «Stern» masthead covers part of the torso and introduces a cool toned infant together with the words «Intelligenz durch Gefühl». The chromatic contrast establishes a sharp discontinuity, while the proximity of the two faces creates a connection that the work does not explain. The editorial image therefore neither illustrates the portrait nor supplies it with a biography. It subjects the figure to a classification, making adulthood and infancy, private experience and generalising discourse, oscillate against one another.

This tension clarifies the transition from the earlier subordination of small media windows to large faces towards their progressive equivalence. Although the insert retains a smaller scale, it has the semantic power to direct the entire image. «Real reality» no longer precedes «media reality» as an authentic fact that communication subsequently distorts: both appear constructed, reproducible and mutually contaminated. The portrait thus leaves open a decisive fracture in Zampogna’s research. Identity remains visible, but the words and images entrusted with making it intelligible ultimately deprive it of its singularity.