Perchè tanta assenza di te non è più possibile
Galleria Browning, Asolo
08.12.2013 – 08.01.2014
Opening: December 7, 2013, at 18:00
Open saturday and sunday (11:00 - 12:30 e 15:00-18:30) or by appointment
The Galleria Browning is pleased to host the exhibition by Giustino Chemello that closes this year curatorial programme dedicated to Italian photography. An extraordinary journey that has collected several Italian authors with the intention of offering a contribution to the debate on contemporary photography. The exhibition and presentation of the book ‘Why such an absence of you is no longer possible’ also arises as a natural ‘end’ to this cycle of research by introducing new perspectives of dialogue in the visual arts, inbetween photography, painting and poetry. This openness reflects the vision that the artistic director has choosen for the new planning in 2014. The project is hereby introduced by the curator Steve Bisson.
«I am delighted to close the 2013 program of Galleria Browning, with an exceptional exhibition on the work of Giustino Chemello. I’ve chosen to dedicate this year specifically to the Italian photography so as to provide an opportunity for discussion and thought. A cross-section which demonstrates the commitment of many authors to renew the tradition and to stimulate a debate over the use of the image, that appears often sterile in this country.
Cultured and dramatic in his kind, Giustino Chemello is an outdated poet, more than a photographer. In fact, he has distanced himself from the art of today, which increasingly seems to “have things to say that you can not say.” In his book ‘Why such an absence of you is no longer possible’, from the title, the author demonstrates his impatience with the unspeakability of the artistic gesture. An emptiness that turns into suffering for one who is not afraid to seek the truth. The future, even in arts, has become enigmatic, and indicates, increasingly, a puissance on which man has lost control. However enigma is a greek word that has to do with madness, and perhaps with an upset order. We go into crisis when our system of judgment no longer works, and that sense of empowerment that we have built on the instructions of Plato, through the cause of reason, is crumbling beneath our feet.
‘But we must try,’ as Mariapia Veladiano writes in the preface of the book. In the movement from a giving space and a ‘standing still’, Giustino Chemello betrays a desire to enter into an atopos. In a place outside of a tiny and infinitesimal yet still maternal humanity. As if to say that things do not end with their definitions. And in this kind of wish I see love, the natural interpreter between men and the gods, a bridge between clear rationality and a latent madness.
Poets are fool because they do not take the words in the uniqueness of their meaning. The poem is foolish. And so this reunion between painting and poetry constructs a new ideal in which opposites can coexist. Elsewhere than the first form of imprisonment that is the mental structure produced by reason. We can not read images created by Giustino Chemello if not in a state of love. And perhaps to relive in all of this is the myth of Dionysus who enters in Thebes to dissolve the city and its boundaries.»
© Galleria Browning | Giustino Chemello
CRISTIAN GUIZZO E GIAN LUCA EULISSE
Venezia. Isole Verdi
Galleria Browning, Asolo
16.11.2013 – 04.12.2013
Opening: November 16, 2013, at 18:00
Open Saturday and Sunday (11:00 - 12:30 e 15:30-19:30) or by appointment
Galleria Browning is pleased to host the exhibition ‘Venezia. Isole Verdi’ by Cristian Guizzo and Gian Luca Eulisse, presented below by curator Steve Bisson. At the opening of Saturday, November 16, 2013 Anna Branciforti will do a special reading on the theme of the exhibition.
The exhibition “Venezia. Isole Verdi (Venice. Green Islands)”, by photographers Cristian Guizzo and Gianluca Eulisse, signifies its contents from the title. While historically ‘Venetiae’ remember how the name of the city has declined in its plural that represents its geographical diversity. On the other hand it invites us to free ourselves from the weight of a single, dominant ideology, and to move more nimbly in an ‘other’ territory. Therefore we find ourselves among less explored places, islands which consist of not only land but circumscribed subsets, spatial niches.
The green character of these places thus expresses a desire to discover, to bring to light, which is also a way for the photographer to reveal himself. Greens are the lesser known islands of the Venetian lagoon, as well as the gardens of the city, hidden spaces and rarely accessible. It is in this distancing, while abandoning in order to get closer, in the anthropological gap and in the subsequent and “reverse” cognitive ability, that we find the first key to the exhibition project. It is then to be found in the dialogue between opposites - the use of color, the choices of size and the number of prints, the distinct forms of vegetation observed. This is a way to decipher the two photographic intents which are ‘distant’ from each other only in appearance. It is not coincidental that the exhibition “shuffles” the images, alternating them visually and physically, forcing the viewer to wonder about the possible relationships between the parts that make it up.
The images in black and white by Gianluca Eulisse are exhibited in a series of “reduced” sizes to facilitate a smooth reading of the landscape of the lagoon, an overview, as if to justify a background mood, and to produce an essential silence. Here the vegetation stands discrete in the eyes of the observer that often seems to seek a horizon, a point of reference. Almost to reduce loneliness. The persistant traces of human activity are studied by the photographer standing between these ‘isolated’ natures. A Nature that exposes itself to the cold and marks a behavior contrary to human action.
For Cristian Guizzo, instead, the color becomes the means to enhance the presence of green in relation to the built, as a means to contrast different origins. The photographs, printed at a large size highlight details, the typologies and diversity. Even better they show, through the contrast between the solid and ancient architecture and the more messy and fresh vegetation, the intention, almost sculptural, to give body to the indissoluble need for nature within the walls.
Whether it addresses the growth of a wisteria for a shade, or a banks fortification to access the resources of the land, both photographic projects show the echo of the inexorable action of man to govern and sometimes abuse the environment. All the more so in Venice which is in a constant struggle with its own waters.
© Galleria Browning | Cristian Guizzo | Gian Luca Eulisse
Viaggio in Italia? Omaggio a Luigi Ghirri
Installation curated by Steve Bisson
Partecipants: Alessandro Calabrese, Alessandro Ligato, Allegra Martin, Andrea Bosio, Anna Positano, Daniele Cinciripini, David Wilson, Fabrizio Vatieri, Fabrizio Saiu, Fulvio Bortolozzo, Gianfranco Gallucci, Giovanni Pasinato, Giuseppe De Mattia, Luca Capuano, Milo Montelli, Nicola Mazzuia, Pablo Chiereghin
Galleria Browning, Asolo
01.11.2013 – 10.11.2013
Opening: November 1, 2013, at 18:00
Open saturday and sunday (11:00 - 12:30 e 16:00-19:30) or by appointment
«In 1984, 30 years after the famous film by Roberto Rossellini with Ingrid Bergman and George Sanders ‘Viaggio in Italia’ (Journey to Italy), the photographer Luigi Ghirri, with the same title, opens the project that marks the history of photography and research on the Italian landscape. The survey involved a large group of photographers from Gabriele Basilico to Olivo Barbieri, from Guido Guidi to Vincenzo Castella to name just a few. These authors have marked a fundamental discontinuity in the way the photographer relates to the territory, influencing generations (not just photograhers) in the following decades.
After further 30 years, it is worth to ask ourselves where this journey has brought us, but even more where are we going? What is the future? Friedrich Nietzsche more than a century ago warned us, prospecting nihilism, that God is dead, in the sense that God no longer makes the world, and so the optimism at the base of Western culture has collapsed. The future is no longer a promise, is unpredictable and perhaps even a threat. So we live in an eternal present, because the look to the future is frightening, and thus the existential risk is to roll towards an infinite nothing. And there is nothing really more actual than this if I think of the Italy I live in and to the younger people.
If it is true that today we live in a nihilistic culture that has nothing to do with the future, it’s important, as Martin Heidegger suggested, not to put it on the door but to look it straight in the face. No resignation but the will to take note of it. And it is this attitude that we inherit from Ghirri and other conscious photographers. The criticism consists in the problematization of the obvious, that in terms of “landscape”, means putting in crisis, do not be satisfied of what you see.
Therefore it is essential to be aware of the situation in which we live, and of the main news: the man is no longer the subject of history, as deposed by technology, the highest form of rationality, even higher than the economy which still suffers from a passion, that of money. The age of technology has been anticipated intuitively by Hegel who wrote that when a phenomenon increases quantitatively it causes a qualitative change of the landscape. With Marx, we can say that the technique, once a means, has now became the purpose. Today one no longer understands what is beautiful or sacred, but what is useful. Decision-making processes, and democracy, have shifted from politics to economics, and from this to the technique.
For all this, we are left with the doubt if we are all incompetent with respect to the future, and the complexity of the information required by the technological digestion. The risk in such a scenario is really to decide only on the basis of rhetorical factors? As a man and as a curator I feel the need for an inner rest as much as for an exterior dialogue. So I thought of an installation for 2014 that will carry the same title but with a question mark at the end ‘Viaggio in Italia ?’ (‘Journey to Italy?’). So as to relate to the past and to investigate the future. Adopting a shared method again, I invited a group of esteemed Italian photographers, artists and friends to bring their own thinking on photography and landscape.
Conscious that the way to ask a question often determines the response, I asked them to put aside the camera and to trace this thought freehand, standing still some way. A gesture more antiquated than the click of a machine, but perhaps less inscribed in a scientific gaze. Provocatively I then asked everyone to send me a postcard without thinking too much, pulling it out from that confused imaginary which is the Italian landscape.»
By Steve Bisson
Galleria Browning, Asolo
11.10.2013 – 24.10.2013
Opening: October 11, 2013, at 19:30
Open Saturday and Sunday (11:00 - 12:30 e 16:00-19:30) or by appointment
The Galleria Browning is pleased to inaugurate the new 2013/2014 programme with ‘Sonbahar’ the first international exhibition of the Brazilian photographer Daniel Marques.
The exhibition presents a series of a kind of monotype of dried leaves collected by photographer in various parks and squares of his city, São Paulo, since 2010. This printing method is a process that makes each “image” unique, as many leaves (matrices) will perish when used in the ink transfer process.
The impression is made on Japanese paper, to which the author is personally attached after having grown up in Liberdade, a neighborhood with a large Japanese community. Everything in this project, the use of fallen leaves, the black and White tones, the delicate printing paper, the printing process and the title itself – ‘Sonbahar’which in Turkish means Fall - communicates the sense of the transience and hopelessness of time.
Beside these engravings, the exhibition shows a series of urban landscapes photographed in black and white, and printed on the same Japanese paper. The images are taken with a pinhole camera that Daniel Marques has built himself, using special filters to increase the turbidity of the landscape. The effect produced by these images seen side by side gives shape to a new emotional landscape. As the author says: «My personal research has a strong relationship with the city where I live - a city that is very large and dispersed - and with its architecture. This photographic project portrays some city parks, without identifying them, thus leaving the viewer free to imagine the places».
Daniel Marques possesses a lyrical vision, soaked with highly personal notes that are echos of his family, his memories, and his human experience of the city and its neighborhood. All the work of the Brazilian photographer manifests this desire to understand and to love his place, his hometown, and to find the poetry and beauty even in its most obscure, uncertain and contradictory features. His research is strongly influenced by literature, an indispensable reference for the author that is evidenced by several pages of his diary being included in the exhibition. For this reason the opening will feature the literature teacher Anna Branciforti who will recite lyrics inspired by Autumn and Daniel Marques’s work.
© Galleria Browning
06.07.2013 – 19.07.2013
Opening: July 6, 2013, at 18:00
Open Saturday and Sunday (11:00 - 12:30 e 16:00-19:30) or by appointment
The Galleria Browning is pleased to host the exhibition ‘Membrana’ by the collective LuoghiComuni. Founded in 2011 the group focuses on the study of the photographic language through a landscape-oriented observation. Luoghicomuni is currently composed of Alessandro Calabrese, Simone Mizzotti and Milo Montelli.
Clippings, fragments, sections, details… The reality observed by the collective LuoghiComuni is sectioned, broken down into non-overlapping parts. Distant from documentary intent, this research is an exploratory journey that reflects the need to refine our senses. Our moving into the city, the urban texture, becomes a path that can reveal new sensations and emotions. In addition, this project is an invitation to seek our own profile in relation to the landscapes in which we express ourselves more. Discover us through the experience of space. Thus we can look at these images as to mental representations of sensory pathways. The perception of reality is not unique. It is up to us to decide how to deal with it.
«The cell membrane is a thin liner, necessary to all organisms to define the cell, detach it from the outer environment and control its interchanges with it. The Luoghicomuni collective decided to turn its attention towards that peculiar area of Milan where, day by day, the city expands while the level ground is slowly consumed. This process gives rise to an equivalence in which the urban centre represents the cell and its limits, tangential to the outskirts, play the part of the membrane. The original intent of the work is nor descriptive or narrative; on the contrary, it grows out of the authors’ necessity to undertake an in-depth analysis of photography as a language. Through the flaneuristic crossing of imaginary, fragmentary and undefined boundaries, a great variety of visual tensions and issues relating to contemporary photogeny are investigated.
The photographer’s gesture is emphasized: just like a chemist with his microscope, he seeks for a major reality by observing its fragments, aiming to make it somehow empirically cognizable. As soon as this purpose is stated, you inevitably become aware of the limits imposed to human knowledge by nature itself. The research is therefore oriented towards the cognitive experience, rather than the result.»