Published on Wednesday, March 2nd, 2011
In a city where the digital era is turning everybody into photographers, piazza Cavour is mostly considered a metro stop in Naples, as well as a nerve centre for the transport service: 13 underground kilometres unroll northwards, by making fourteen stations involved in the project Art Stations
and as many laboratories experimenting with the possibility of eliminating the distance between city inhabitants and the art world.
Piazza Cavour becomes the favourite place for emulsified image lovers: to accompany the passage along the Metropolitan commuter in the maze are the photos of those who were and still are the protagonists of experimental photography in Naples.
Beautiful. But frustrating when the places destined to art are few and little, when an institutional attention in this regard is lacking: the Museum of the Twentieth Century was born without a photo section, while the division created at Capodimonte Museum in the almost always inaccessible third floor is rather the tale of a love confession by Mimmo Jodice
between the art world and his vicissitudes in the city. Then, the announcement of a Photography Museum. At last.
Villa Pignatelli is the chosen place; its relationship with photography began in the 1970s to then be abruptly interrupted – the first floor used to host Banco San Paolo’s art collection; Ugo Mulas
’ (Pozzolengo, Brescia, Milan, 1928-1973) photographic works inaugurate the new project.
The choice of this artist doesn’t respond to the tastes of parochialism; instead it is completely appropriate when talking about an artist who turned his research into ontology of photography. An aspect that celebrates itself, by adopting as a recurring postulate the indispensable technical knowledge; with Verifications
– the series closing the exhibition – photography is an art element that speaks critically of the actual categories. "I try to understand what's going on, to understand it photographically: I want to make sure that the document has already its own interpretation within itself, a defined designation. When looking at these photographs one must also investigate why it is that it was done that way [...] my point of view is not merely optical, but also and especially mental
No theft of images, then. No vigilant and timely objective; rather, the photographs here hold a click which is punctuated with slowness, by someone who knows the value of the duration and understands what fullness the very fact of waiting holds in itself.
His photography is a visual metaphor receiving an apparent anonymity when describing Duchamp
and his "mental attitude in relation to his work, an attitude which is concretised after years of silence, a refusal to do that corresponds to a new way of doing, of continuing a discourse
". In a tribute to Jannis Kounellis
the photographs keep the proof stage, chanting the antithesis between artistic and photographic time.
Time is also the key word in a city that lately has experienced the official resignation of the Madre Museum Board of Directors, which looks on painfully as a reality immediately appreciated for the quality of its cultural offerings such as Pan flounders and where the metropolitan service has slowed in its 30-plus year long process of completion. The Museum of Photography: hopefully it will last.
show visited on February the 23rd, 2011
From December the 28th, 2010 to February the 28th, 2011
Ugo Mulas - Verifica
dell'arte. Da Marcel Duchamp a Vitalità del Negativo
curated by Giuliano Sergio
Casa della Fotografia - Villa Pignatelli
Riviera di Chiaia, 200 - 80121 Napoli
Opening Hours: Wednesdays to Mondays 8-14
Entrance Fee: full € 2; reduced € 1
Catalogue Johan and Levi
Info: tel./fax +39 0817612356; firstname.lastname@example.org