Exhibitions, Italy, Genoa, Genova, 14 July 2016
FLASHBACK
Italian Photography 1960-2016 trial
edited by Sabrina Raffaghello and Roberto Mutti
Opening July 14, 2016 18:00
20:00 performance by Grace Zanotto - No more mud, but raw land
From July 15 to August 28, 2016
Ducal Palace
Piazza Matteotti 9 - Genoa
tel. 010/8171600 - 010/8171663
palazzoducale@palazzoducale.genova.it
biglietteria@palazzoducale.genova.it
www.palazzoducale.genova.it
Schedule:
Tuesday to Friday 11:00 to 13:00 and 15:00 to 19:00
Saturday and Sunday 11:00 to 19:00
closed Monday
Input full € 5.00 reduced € 4.00
The exhibition deals with the photography in a chronological time since 1960 up to the current time. A history that speaks of 50 years of photography, 50 years of changes, technical innovation, but above all of evolution and consolidation of a language that never before has become universal for the articulated story and acquired in history, life and art. But this is also an exhibition where the diachronic coexists time, confronts, raises doubts and questions. The authors are flanked by topics not for temporal succession, modernity and innovation are prerogatives timeless, because time has stopped and manipulated by the photograph in a story of a moment made incorruptible to the loss of substance and clarity that is typical of memory . Observe and remember, recognize, discover, talk, tell, surprise, play, learn, wonder, think, scare, build, and keep dreaming. In a time where the image reigns undisputed queen of communication, where no longer observed but it looks almost unconsciously grinding images of images, it is worthwhile to share the concept of inner journey to understand how the change took place, how time has implemented its external and internal changes, such as the environment influences on our generation. Quoting almost verbatim Fausto Colombo sociological reflection on generations as a collective identity leads to a first definition still essential at least as a starting point, so a generation is an age cohort that takes on social significance establishing itself as a cultural identity. The interest of sociology to this problem can not be surprising to speak of generations it is to speak of human society, in its deepest aspects and immediate, upon which any sociological analysis. First, the opposition between the individual and society, between atom and galaxy, referring to temporal dynamic that is the background to any social change, and that is embodied in historical cycles of different durations, with their watershed, their specific characteristics, they overlap, and in which the protagonist is rather the community. The concept of generation refers to the experience dialectic with which the social subject lives time in history, on the one hand rooted in an identity as it were horizontal, shared with their peers; other prospectively screened in the past and in the future through the encounter with previous generations and following, with which his own lives. Given the centrality of this dialectic anthropological experience, it is not surprising that the concept of generation is also the object of interest of other human sciences. If anything, it is important to understand how each discipline specific perspective to address the issue. The art or better photography is an integral part of this reflection and assumes a documentation and testing function. The artists and their aesthetic, can be conceived as phenomena - or categories - intercultural. In most cultures it is believed that the artist can play a psychic role through the work of art, but in any case it is as unique expression of an era, of a society, a civilization, a country. The eye of the sensitive and careful photography reveals through this shows a willingness to reflect on how we were, what has changed and what has remained immobile in time and history. there is no chronological sequence in selected works but only a diachronicity that obliges us to a liberation of reason from stereotypes and neologisms are what each of us decides to be in the world that represents us. We are history, it is our actions, our choices, our art and our generations.
1960 Elio Ciol, Mario De Biasi, Mario Giacomelli, Franco Grignani, Nino Migliori, Aldo Tagliaferro, Franco Vaccari.
1970 Gabriele Basilico, Mario Cresci, Ugo Mulas, Fulvio Roiter, Sarenco, Aldo and Maria Rosa Toscani Ballo, Michele Zaza.
Olivo Barbieri 1980, Franco Fontana, Giovanni Gastel, Luigi Ghirri, Giorgio Lotti, Oliviero Toscani, Franco Vimercati.
1990 Gian Paolo Barbieri, Giannetto Bravi, Vittore Fossati, Maurizio Galimberti, Barbara La Ragione, Pietro Privitera, Rossella Roli.
2000 Alessandra Baldoni, Andrea Boyer, Luca Campigotto, Gianluca Chiodi, Franco Donaggio, Luigi Erba, Matteo Ferrari, Gianluca Giordano, Pina Inferrera, Pier Paolo Koss, Giancarlo Marcali, Oriella Montin, Occhiomagico, Ivan Piano, Stefania Ricci, Edoardo Romagnoli, Luciano Romano, Giovanni Sesia, Paolo Ventura, Christian Zanotto, Fabio Zonta.
Italian Photography 1960-2016 trial
edited by Sabrina Raffaghello and Roberto Mutti
Opening July 14, 2016 18:00
20:00 performance by Grace Zanotto - No more mud, but raw land
From July 15 to August 28, 2016
Ducal Palace
Piazza Matteotti 9 - Genoa
tel. 010/8171600 - 010/8171663
palazzoducale@palazzoducale.genova.it
biglietteria@palazzoducale.genova.it
www.palazzoducale.genova.it
Schedule:
Tuesday to Friday 11:00 to 13:00 and 15:00 to 19:00
Saturday and Sunday 11:00 to 19:00
closed Monday
Input full € 5.00 reduced € 4.00
The exhibition deals with the photography in a chronological time since 1960 up to the current time. A history that speaks of 50 years of photography, 50 years of changes, technical innovation, but above all of evolution and consolidation of a language that never before has become universal for the articulated story and acquired in history, life and art. But this is also an exhibition where the diachronic coexists time, confronts, raises doubts and questions. The authors are flanked by topics not for temporal succession, modernity and innovation are prerogatives timeless, because time has stopped and manipulated by the photograph in a story of a moment made incorruptible to the loss of substance and clarity that is typical of memory . Observe and remember, recognize, discover, talk, tell, surprise, play, learn, wonder, think, scare, build, and keep dreaming. In a time where the image reigns undisputed queen of communication, where no longer observed but it looks almost unconsciously grinding images of images, it is worthwhile to share the concept of inner journey to understand how the change took place, how time has implemented its external and internal changes, such as the environment influences on our generation. Quoting almost verbatim Fausto Colombo sociological reflection on generations as a collective identity leads to a first definition still essential at least as a starting point, so a generation is an age cohort that takes on social significance establishing itself as a cultural identity. The interest of sociology to this problem can not be surprising to speak of generations it is to speak of human society, in its deepest aspects and immediate, upon which any sociological analysis. First, the opposition between the individual and society, between atom and galaxy, referring to temporal dynamic that is the background to any social change, and that is embodied in historical cycles of different durations, with their watershed, their specific characteristics, they overlap, and in which the protagonist is rather the community. The concept of generation refers to the experience dialectic with which the social subject lives time in history, on the one hand rooted in an identity as it were horizontal, shared with their peers; other prospectively screened in the past and in the future through the encounter with previous generations and following, with which his own lives. Given the centrality of this dialectic anthropological experience, it is not surprising that the concept of generation is also the object of interest of other human sciences. If anything, it is important to understand how each discipline specific perspective to address the issue. The art or better photography is an integral part of this reflection and assumes a documentation and testing function. The artists and their aesthetic, can be conceived as phenomena - or categories - intercultural. In most cultures it is believed that the artist can play a psychic role through the work of art, but in any case it is as unique expression of an era, of a society, a civilization, a country. The eye of the sensitive and careful photography reveals through this shows a willingness to reflect on how we were, what has changed and what has remained immobile in time and history. there is no chronological sequence in selected works but only a diachronicity that obliges us to a liberation of reason from stereotypes and neologisms are what each of us decides to be in the world that represents us. We are history, it is our actions, our choices, our art and our generations.
1960 Elio Ciol, Mario De Biasi, Mario Giacomelli, Franco Grignani, Nino Migliori, Aldo Tagliaferro, Franco Vaccari.
1970 Gabriele Basilico, Mario Cresci, Ugo Mulas, Fulvio Roiter, Sarenco, Aldo and Maria Rosa Toscani Ballo, Michele Zaza.
Olivo Barbieri 1980, Franco Fontana, Giovanni Gastel, Luigi Ghirri, Giorgio Lotti, Oliviero Toscani, Franco Vimercati.
1990 Gian Paolo Barbieri, Giannetto Bravi, Vittore Fossati, Maurizio Galimberti, Barbara La Ragione, Pietro Privitera, Rossella Roli.
2000 Alessandra Baldoni, Andrea Boyer, Luca Campigotto, Gianluca Chiodi, Franco Donaggio, Luigi Erba, Matteo Ferrari, Gianluca Giordano, Pina Inferrera, Pier Paolo Koss, Giancarlo Marcali, Oriella Montin, Occhiomagico, Ivan Piano, Stefania Ricci, Edoardo Romagnoli, Luciano Romano, Giovanni Sesia, Paolo Ventura, Christian Zanotto, Fabio Zonta.
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