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MARIO GIACOMELLI: Iz arhiva Luigija Crocenzija MARIO GIACOMELLI: From Luigi Crocenzi’s Archive

 
 
 

Mario Giacomelli

6. junij – 1. julij 2012

Otvoritev: sreda, 6. junij ob 19. uri

MGLC Ljubljana

Razstava predstavlja izbor najreprezentativnejših del italijanskega fotografa Maria Giacomellija. Ustanova C.R.A.F. – Centro di Ricerca e Archiviazione della Fotografia iz Spilimberga v obmejni deželi Furlaniji–Julijski krajini je leta 1995 pridobila v hranjenje arhiv pisem, knjig in fotografij italijanskega fotografa Luigija Crocenzija. V arhivu je še posebej dragocena zbirka več kot 250 fotografij, ki jih je v obdobju od petdesetih do konca sedemdesetih let prejšnjega stoletja posnel Mario Giacomelli, eden najpomembnejših italijanskih fotografov 20. Stoletja.

Razstava predstavlja izbor najreprezentativnejših del italijanskega fotografa Maria Giacomellija. Ta je eden najvidnejših italijanskih fotografov. Bil je samouk in ni pripadal nobeni šoli. Je pomemben predstavnik italijanskega neorealizma. Ta se pri Giacomelliju kaže v simbolističnem diskurzu, ki se približuje fotografskemu ekspresionizmu, izpostavljajoč čustveni vidik resničnosti, poudarjen s kontrasti in znamenji. Mario Giacomelli je tako kot filmski mag Federico Fellini pogled neorealizma postavil na glavo s tem, ko je v svoje fotografije vpeljal novo, skoraj sanjsko tonsko poezijo in stkal fotografske zgodbe skozi pripovedi in krajine, iz katerih je odstranil nepotrebne podrobnosti.

Ustanova C.R.A.F. – Centro di Ricerca e Archiviazione della Fotografia iz Spilimberga v obmejni deželi Furlaniji–Julijski krajini je leta 1995 pridobila v hranjenje arhiv pisem, knjig in fotografij italijanskega fotografa Luigija Crocenzija. V arhivu je še posebej dragocena zbirka več kot 250 fotografij, ki jih je v obdobju od petdesetih do konca sedemdesetih let prejšnjega stoletja posnel Mario Giacomelli, eden najpomembnejših italijanskih fotografov 20. stoletja.

Prvi del razstave predstavlja serije fotografij iz petdesetih let prejšnjega stoletja: Prime fotografie (Prve fotografije), Nudi (Akti), Mare (Morje), Paesaggi (Krajine – te so bile stalnica tudi v njegovem poznejšem opusu), Puglia (Apulija), Gente dei campi (Podeželani), Lourdes (Lurd) in Scanno. V drugem delu so na ogled avtorjeve mojstrovine iz 60. in 70. let: Mattatoio (Klavnica), Io non ho mani che mi accarezzino il viso (Nimam rok, ki bi mi božale obraz), A Silvia (Silviji), La buona terra (Dobra zemlja), Verrà la morte e avrà i tuoi occhi (Prišla bo smrt in imela bo tvoje oči), Motivo suggerito dal taglio dell’albero (Motiv, ki ga je ponudilo sekanje drevesa), Caroline Branson in Studenti (Študentje).

Mario Giacomelli (Senigallia, 1925–2000) je pri trinajstih začel delati v tiskarni Tipografia Marchigiana, kjer so ga brezmejne možnosti kombiniranja besed in slik, ki jih ponuja tisk, tako očarale, da je celo življenje ostal v tiskarni in pozneje postal njen lastnik. S fotografijo se je ukvarjal redno vsak dan v svojem prostem času. Leta 1963 je John Szarkowsky, kustos Muzeja sodobne umetnosti MoMA v New Yorku, kupil serijo fotografij Scanno in eno objavil v prestižnem katalogu muzeja Looking at Photographs. S tem je Giacomelli zaslovel tako v Italiji kot v tujini.

(Walter Liva)

www.mglc-lj.si

www.craf-fvg.it

Mario Giacomelli

6 June – 1 July 2012

Opening: Wednesday, 6 June at 7 pm

MGLC Ljubljana

The exhibition puts on display the selection of the most representative works made by prominent Italian photographer Mario Giacomelli. In 1995, C.R.A.F. acquired the Luigi Crocenzi’s archives consisting of very important letters, books, and photographs that Crocenzi collected during all his life. Among the photographs there are more than 250 vintages realized by Mario Giacomelli from the 1950s till the end of the 1970s. Giacomelli’s discourse became symbolic when his photographs exasperate the emotive aspect of the reality.

The exhibition puts on display the selection of the most representative works made by prominent Italian photographer Mario Giacomelli. His discourse became symbolic when his photographs exasperate the emotive aspect of the reality. As Federico Fellini for cinema, Mario Giacomelli overturned the Neorealist point of view introducing in his photographs a new tonal poesy, almost dreamy, and producing photographic stories where he excluded unnecessary details. Then he became the most important Italian photographer of the 20th century, independent from every school of thought.

In 1995, C.R.A.F. acquired the Luigi Crocenzi’s archives consisting of very important letters, books, and photographs that Crocenzi collected during all his life. Among the photographs there are more than 250 vintages realized by Mario Giacomelli from the 1950s till the end of the 1970s. In the first part of the exhibition the visitor can observe the series of photos taken during the 1950s: First photographs, Nudes, Sea, Landscapes, Apuglia, Land people, Lourdes and Scanno. In the second part, one can admire some masterpieces from the series Slaughterhouse (1961),  I have no hands that caress my face (1962-63), To Silvia (1964), The Good earth (1964-65), Motif suggested by the cutting of a tree (1967-69), Death will come and will have your eyes, Caroline Branson (1971-73), Students (1977).

Mario Giacomelli (Senigallia, 1925-2000) began working at Tipografia Marchigiana when he was only 13 years old and he worked here during all his life. He devoted himself to photography, first only during his leisure every day after dinner near Senigallia, then learning to print his photos himself. In 1955 he was awarded in Castelfranco Veneto and in Spilimbergo. When John Szarkowsky, curator at MOMA in New York, bought in 1963 for the Museum the series of photos untitled Scanno and introduced one of his photos in the prestigious catalogue Looking at Photographs, Giacomelli became famous in Italy and abroad.

(Walter Liva)

www.mglc-lj.si

www.craf-fvg.it