Trova il lavoro con Jooble
"An object or an ordinary-looking body, if observed with real attention, turn into something sacred. The camera can reveal the secrets that the naked eye or the mind doesn’t grasp (...)" (Isabel Allende ) ...

Published on Tuesday, July 19th, 2011
The joke of the photographic medium, which only states the illusion of what is invisible in the visible content, a reflection on the ability to disguise the reality in San Marino, in a group exhibition of fifty historicized artists, known and unknown that over the years worked on the border between fiction and truth. The aim of the curators Italo Zannier (which is also on display with a work) and Roberto Maggiori, is not about tracing the history of photography but, rather, to tell the visitor how the history has been exploiting the potential inherent in the illusory means. Just today, in an era in which photographic reality is constantly manipulated by Photoshop. Among the names on show are Luca Maria Patella (Rome, 1934), an artist with a postmodern metaphysical and conceptual character that makes contamination its watchword. Patella moves deftly between all artistic media, and photography is the instrument for a possible interpretation of reality. The photo show is called Claudia Pavonis (1992), a large format Polaroid part of the series Le Vol Entier de Venus, some specimens of which are exposed at the Italian Pavilion of the Venice Biennale, which section is always taken care of by Italo Zannier . It is a group of unique and unrepeatable works extracted from life, especially for what concerns its technical characteristics: the equipment used is no longer on the market and especially the digital would not allow such a result. In this respect, Patella tells an interesting anecdote: "When the great Polaroid sheet was removed and 'snatched' by the huge Polaroid camera (about one cubic meter), the operator said: 'I had strongly advised you against carrying out similar ... complexities, but now I embrace you! '. 
Luca Maria Patella, Caudia Pavonis (1992)
These works are trespassing in a definition language, which is a complex, personal consequence of 90s postmodernism, which reflection starts from the consideration of conceptual art and the transition through and beyond the Transavanguardia. A polished work both technically and intellectually based on the Hegelian triadic beloved dialectic. It starts with a climb over that sensitive reality, asserting itself in a quotation is subsequently denied by illusionistic deception, which will in turn put into crisis by a ri-certification of reality. We find in fact that the outcome has been achieved without the use of external devices or rework. In our journey we meet Nadar (Paris, April 6, 1820 - Paris, March 21, 1910), one of the great pioneers of photography. Mario Cresci (Chiavari, 1942), that with the piece from the series “Vedere Attraverso” allows only to see a particular through and the rest is left looking at through a misted glass, leaving us with the bitter aftermath of an impossible interference. Our role is that of the failed voyeur to which is left one ruthless hint of what lies beyond. .
Mario Cresci – dalla serie Vedere attaverso
The Bologna based duo made up by Corsello and Cuoghi celebrates instead the history of Italian art with Rome (1998), where sculpture had at that precise moment the right to speak over architecture. This exhibition is an excellent opportunity for fans of the medium to capture new sources of critical analysis, a way of investigating history by going beyond the conjunction between art and technique for a rereading of the exhibited works. For once, there is no claim to "do" and teach the history of art, we are not in the presence of mechanical relations of cause and consequence. By asking ourselves the question of "how" certain defined outcomes are achieved, we are forced to review the involved variables and to consider the medium not only as a tool to capture reality but also as a way to obtain new forms for decoding it.

curated by ilaria carvani

From July 16th to October 2nd, 2011 
Sembianze. La fotografia tra realtà e finzione, Collective exhibition curated by Italo Zannier and Roberto Maggiori
Museo San Francesco, Via Basilicius, San Marino
Opening Hours: from July 16th to September 17th, everyday  8.00 – 20.00; from September 18th to October 2nd, everyday  9.00 – 17.00. Free entrance 


Reserved Reproduction