Tag: opening

Corpus. The photographic research of Samantha Marenzi. Curated by Simone Azzoni and Marco Rapaccini. 11 March – 1 April 2023

March 10, 2023

Vernissage 11 Marzo 2023 ore 18,00. La mostra è organizzata dal Centro Di Sarro con Grenze Arsenali Fotografici (Verona) e Officine Fotografiche (Roma).

Samantha Marenzi, professor at the DAMS of the Roma 3 University, specializes in analogue photography and manual printing techniques. Corpus is a project in three stages of transition, three alchemical stages, three linguistic and material nuclei that tell the relationship between image and Butō, photography and dance, visual arts and performing arts. “I have always used only analogue photography, and with projects linked to presence and corporeity I began my experimentation with ancient printing techniques. A slow and long process of image creation, organic to the times and silences of the work on the body, a corpus”. In a never documentary relationship between scene and photography, the image is part of the creative process as a diagnosis and scan of movement, as a linguistic translation, as a rhythmic score “in” and “on” the black. The images develop the Butō of the Lios group, of La Maison du Butoh Blanc, but also what Marenzi experienced in Japan following Akira Kasai, a dancer who participated in the foundation of Butō and who then crossed the cultures and practices of ‘East and West. Fragments of projects exhibited in numerous Italian events and foyers find themselves in dialogue at the Centro Luigi Di Sarro together with unpublished works specially printed for Corpus. Also on display is the artist’s latest work with the performer Alessandra Cristiani, a trilogy of three projects for as many shows and exhibitions: one dedicated to Schiele and made in cyanotype, one to Bacon and made in Polaroid, the last to Rodin in silver salt emulsion on paper and stone. “The images constitute both the sources and the destinations of the three performances. Each solo is linked to a photographic project which investigates the variations of its corporeity stimulated by the work of the three chosen artists and experiments with the contaminations between different techniques. In all three stages we worked in collaboration with Alberto Canu, who uses digital and usually shoots the shows, in rehearsal or live”.

The folds of the void, is the exhibition that concludes the CL/PA – the travel project created thanks to the support of the Italian Council (X Edition 2021). Giulia Fumagalli + Aran Ndimurwanko. Opening 19 November 2022 h.17-20.

November 18, 2022

How to tell two distant places after having had an intense experience of them?
What shapes can they take? What in them can be considered full?
What, instead, empty? And how these entities so different can dialogue?

These are some of the questions that revolve around The folds of the void, the exhibition by Giulia Fumagalli (Carate Brianza – MI, 1990) with Aran Ndimurwanko (Trento, 1991) which take place at the Centro Luigi Di Sarro in Rome, from 19 November to 23 December 2022. Critical text by Alice Evangelisti.

It is a heterogeneous selection of works resulting from the double residency that the two artists experienced during the spring 2022, first in Chile and then in Panama.
The result is thus their personal and artistic vision of these two places, geographically close, but completely at the antipodes. On the one hand, the Chilean landscape, visually open due to the immense desert expanse, which, although empty, is capable of triggering continuous connections. On the other hand, the Panamanian one, visually closed due to the presence of the impenetrable jungle, which fills the eyes and the mind, overpopulating them with images.

Two completely opposite experiences, which mutually activate sensations of fullness and
of emptiness, opposing them but at the same time making them also become the consequence of the other. Thus, focusing on the extrinsic and intrinsic characteristics of these two places, Fumagalli and Ndimurwanko give their interpretation. If Fumagalli investigates two natural elements water and air – which materialize in light and poetic installations able to evoke their presence, Ndimurwanko shapes the earth, giving life to works full of daily rituals.

The exhibition is part of the project CL/PA – the travel by Giulia Fumagalli, created thanks to the support of the Italian Council (X edition, 2021), a program for the international promotion of Italian art of the General Directorate for Contemporary Creativity of the Ministry of Culture.

Pannaggi FOCUS Award 2019-2021 curated by Loretta Fabrizi. The winners of the last 3 editions of the Prize for the new generations of Marche artists. May 27 – June 24, 2022.

May 21, 2022

On display the works of Elena Giustozzi , Serena Vallese and Michele Carbonari , winners of the 2021, 2020 and 2019 editions respectively. Opening May 27th at 6pm .

The Centro, in collaboration with CeSMa (Centro Studi Marche) and in line with its forty-year promotion of young talents at national and international level, welcomes in its exhibition spaces the winners of the last three editions (2019 – 2021) of the Pannaggi / New Generation Award, an initiative of the “Amici di Palazzo Buonaccorsi” organization from Macerata in support of young artists for the promotion of art contemporary in the Marche and in Italy. & nbsp;

The exhibition offers itself as a privileged observatory on contemporary art through the works of three young talents. A three-part exhibition, therefore, which in comparison by work explores the languages ​​of the visual, unravels their different expressive modes, absolutely original in their being modulated on creative scores that each connects to their own existential rhythms. Concretions in forms and images of visions that mark the relationship that is always problematic and always to be built with reality, which however, precisely in its persevering escape from grasp, constantly feeds the horizon of the imagination with new energy. & Nbsp;

Elena Giustozzi (Pannaggi Award 2021) – born in Civitanova Marche (MC) in 1983, lives in Senigallia (AN) – through INSIDE proposes the liquid vision of a microcosm imprisoned in a few centimeters of water that the high quality of the painting and the optical device allow you to live in the fluid and silent depth of a “garden in motion and without end” like cosmic life. < / p>

Serena Vallese (Premio Pannaggi 2020) – born in Giulianova (TE) in 1981, lives and works in Montone (TE) – presents FOGLIA-ME , a cultured and meditated that explores the theme of the fragility of the living made with equally fragile materials such as paper, plaster, poor, cellulose pulp and modulated on the pervasive and absorbent white “dazzling waiting”.

Michele Carbonari (Premio Pannaggi 2019) – born in Recanati in 1980, lives and works in Macerata – with THE LAST IMAGE he develops a figurativeness that speaks of things of everyday life sublimated by the light of painting, capable of giving dignity of singular existence even to the most anonymous and silent objects, revealing “epiphanies of the invisible”.

le opere di Elena Giustozzi, Serena Vallese e Michele Carbonari, vincitori rispettivamente delle edizioni 2021, 2020 e 2019. Opening 27 maggio alle 18.

Il Centro Luigi Di Sarro, in collaborazione con il CeSMa (Centro Studi Marche) e in linea con la sua quarantennale attività di promozione di giovani talenti a livello nazionale e internazionale, accoglie nei suoi spazi espositivi i vincitori delle ultime tre edizioni (2019 – 2021) del Premio Pannaggi/Nuova Generazione, un’iniziativa dell’associazione “Amici di Palazzo Buonaccorsi” di Macerata a sostegno dei giovani artisti per la promozione dell’arte contemporanea nelle Marche e in Italia. 

La mostra si offre come un osservatorio privilegiato sull’arte contemporanea attraverso le opere di tre giovani talenti. Un’esposizione dunque a tre voci che nel confronto per opera scandaglia i linguaggi del visivo, ne squaderna le diverse modalità espressive, assolutamente originali nel loro essere modulate su spartiti creativi che ciascuno raccorda ai propri ritmi esistenziali. Concrezioni in forme e immagini di visioni che scandiscono il rapporto sempre problematico e sempre da costruire con il reale, che tuttavia, proprio nel suo perseverante sfuggire alla presa, alimenta costantemente di nuova energia l’orizzonte dell’immaginario. 

Elena Giustozzi (Premio Pannaggi 2021) – nata a Civitanova Marche (MC) nel 1983, vive a Senigallia (AN) – attraverso INSIDE propone la visione liquida di un microcosmo imprigionato in pochi centimetri d’acqua che l’alta qualità della pittura e il dispositivo ottico consentono di abitare nella profondità fluida e silenziosa di un “giardino in movimento e senza fine” come la vita cosmica.

Serena Vallese (Premio Pannaggi 2020) – nata a Giulianova (TE) nel 1981, vive e lavora a Montone (TE) -presentaFOGLIA-ME, un lavoro colto e meditato che sonda il tema della fragilità del vivente realizzato con materiali altrettanto fragili come carta, gesso, povere, pasta di cellulosa e modulato sul bianco pervasivo e assorbente “abbagliante d’attesa”.

Michele Carbonari (Premio Pannaggi 2019) – nato a Recanati nel 1980, vive e lavora a Macerata -conTHE LAST IMAGE mette a punto una figuratività che parla delle cose del quotidiano sublimate dalla luce della pittura, capace di donare dignità di singolare esistenza anche agli oggetti più anonimi e muti rivelando “epifanie dell’invisibile”. 

  • Giustozzi_Vasca#3, 2019, olio su tela, diametro 80 cm
  • Vallese_Foglia-me, 2021, pasta di cellulosa, installazione (part.)
  • Carbonari_Trittico.Ombrellone nello studio, 2019, olio su tela, pannelli sx e dx 120×90 cm, pannello centrale 120x100cm

ATTICA. Enzo Cursaro. Curated by Massimo Bignardi. 4-28 March 2020

February 28, 2020

Opening March 4th 2020 5pm.

Paintings and papers created by Enzo Cursaro in recent years, which shows a marked interest in the sign as an expressive figure that finds in the plot, a narrative plot full of references drawn from the anthropological sphere. “At stake is the figure of his existential identity, of his link with the places where he was born, with Paestum and his mystery. Attica is above all the panorama that opens to his eyes when, from the top of his studio, they range over the expanse of the plain that welcomes the Magna Graecia city going west, until reaching Capri. It acts as a reunion with its origins, with memory, with the vitality of the first encounter with the sign “.

Enzo Cursaro was born in Paestum in 1953. He studied in Naples where, at the Academy of Fine Arts, he followed Domenico Spinosa’s lessons and where he graduated in 1978. In those years his interest was oriented towards abstract-informal compositions, which he would later resume in the 90’s. In the second half of the 70’s, as soon as he left the Academy of Fine Arts, he began his relationship with San Carlo Art Gallery directed by Raffaele Formisano, thus becoming an active part of a group of artists belonging to the Mezzogiorno (South of Italy). For about thirty years (1983-2012), he lives permanently in Verona, where he teaches art history and pictorial disciplines at public secondary schools. Since the mid-eighties he has exhibited mainly in Europe. Recently he has returned to Paestum where he lives and works.

A NICCA. Marcela Gottardo and Flavia Monteiro. Curated by Steven Y. Wong. 2019 November, 7th-30th.

November 5, 2019

A Nicca, refers to a core doctrine of Buddhism that is the idea of impermanence, one that articulates that existence is in a constant state of change. The etymology Anicca is a negation of the root word “nicca” meaning stability and continuity. The works of Marcela Gottardo and Flavia Monteiro are less of a negation of permanence but rather explore the Buddhist concept of Anicca through the instability and transformations of materiality and being. Together they interrogate how we see through the subjective lens of our own knowledge and embrace our destined impermanence, beyond the philosophical and existential crisis of nihilism. 

Gottardo employs familiar everyday materials and or themes to create fragmentations of one’s temporal existence and conception of self. These fragments are assembled and treated as unique forms that are in a stasis of decay, yet echo the memory of organic forms and negative space. Gottardo’s work presents material explorations of form, resulting in a survey of art works that evoke an archeological indexing, encouraging a visual unearthing of artifacts. 

Monteiro showcases several bodies of works that include suspended cyanotypes that echo garments drying on a clothesline; and also include organic shapes of everyday objects including the shadows of desert flora. Monteiro examines her adaptation to living in a new desert environment by embracing the desert sun and its shadows in the creation of her cyanotypes. These works refute her arid environment through the deep blues inherent to cyanotypes, the liquid process developing these images, and through blockages of the desert sun’s radiation in exposing the cyanotypes. These cyanotypes are also pared with photographs that reinforce the deserts yearning for water. Monteiro contrasts the cyanotypes and photographs with her warm paintings of grids and structures that suggest a containment of not only color, but the specter of fluids enveloping the void. Monteiro’s practice examines ideas of transformation through the visual entropy of structure, documenting ones environment and the desire to contain.

FriedrichWilhelm Nietzsche was critical of Buddhist concept of Anicca, postulating it in opposition to his idea of “will to power”, where he equated the idea of impermanence with nihilism. Gottardo and Monteiro’s works challenge his accusations of the ascetic practice Buddhism (and Christianity) as a “will to nothingness”, through their affirmative exploration of the ever-changing material and environment. Their works speak to their transition of impermanent lived lives within the Brazilian diaspora. Ultimately this exhibition embraces our world’s reality of impermanence with a goal of acceptance of the instable and unknown. (Steven Y. Wong, USA) 

Steven Y. Wong was born Los Angeles where he currently is the curator at Los Angeles Municipal Art Gallery. Previously he was Interim Executive Director and senior staff curator at the Chinese American Museum where he developed and implemented both contemporary art and history exhibitions. Steven has lectured at UC Santa Barbara and was an adjunct professor at Ventura College and Pasadena City College in Asian American Studies, History and Art Studio Departments. Steven holds a Masters in Asian American Studies from the University of California, Los Angeles and a Master in Fine Arts from the University of California, Santa Barbara.

  • Marcela Gottardo
  • Marcela Gottardo
  • Marcela Gottardo
  • Marcela Gottardo
  • Marcela Gottardo
  • Marcela Gottardo
  • Marcela Gottardo
  • Marcela Gottardo

Marcela Gottardo was born in Brazil. She lives and works in Pistoia, Italy. Marcela’s artwork utilizes materials and processes to investigate the nature of being and becoming. She received a Master of Fine Arts in 2014, and a Bachelor of Fine Arts in Painting in 2012, at Otis College of Art and Design, Los Angeles, California, USA. 

Flavia Monteiro was born in Rio de Janeiro, Brazil. She lives and works in the Coachella Valley desert in California (USA). She explores altered perceptions by continually reworking her artwork until preconceptions and expectations are broken and a transformation is completed. Flavia has exhibited her work in California at Los Angeles Municipal Art Gallery, Palm Springs Art Museum, Vincent Price Museum, The Bolsky Gallery, Los Angeles International Airport, and has created public artworks for the cities of Malibu and Glendale. Her artwork has been exhibited in galleries in Rio de Janeiro and at the Ibero-American Art Salon at the Mexican Cultural Institute (Washington, DC). Flavia earned an MFA from Otis College of Art and Design in 2013, and BA degrees in Art Education and Social Communication. She completed postgraduate studies in Art Therapy. Before moving to the US in 2003, she worked as an Art Educator and developed art education programs at Colégio Pedro II, the Brazilian Federal model school in Rio.

Francesca Floris – The World of Las – curated by Flavio De Bernardinis – 2019 May 11th / June 8th – Opening May 11th from 6:00 pm to 20:30 pm

May 1, 2019

Is the lens of the camera a window, or a mirror? And the mirror, in any case, can it also be a camera? And finally, what is seen, in both cases, is shown, or reflected? The photographic installations of Francesca Floris are inscribed within this conceptual field, which, in the electronic age, or rather the season of indistinct multiplication of images without support, constitutes the heart of the contemporary social and anthropological scene.

Combined with the reflection motif, the theme of the body. Perceivable as an eternally delayed presence in the game of refractions, the body is confirmed as a strong and inescapable presence.

The art of Francesca Floris thus poses the cardinal problem: in the labyrinth of reflections, is the image a support of the body, or does the body, with its tender and merciless availability, constitute, here and now, the support of the image?

It is up to the viewer to formulate a hypothesis, if not decisive, at least participatory, of a figurative and sensorial project, which touches, in depth and on the surface, the key theme of contemporary culture, a social and also a political theme, that is the fragile question, full-bodied and reflected, though still unresolved, of identity. (Flavio De Bernardinis)

The World of Las was born from the desire to describe a platonic love. The story is about a woman who is projected into the fantasies of the person who loves her. These imaginary places are the only place where she enjoys the love of which she is the object. To represent this situation, I chose to really project the protagonist of this project into the scenarios that represent the imagination of the narrator. The idea was, from the beginning, to “host” the woman in these fantasies, which in the photographs appear as concrete and tangible places, while she appears as a projection, an apparition, something distant and ghostly. The viewer then moves into the mind of the person who loves. (Francesca Floris)

The exhibition is structured in four parts. The first stage of the exhibition is composed of 10 illustrations (one for each chapter of the story), in 40 x 60 cm format, accompanied by a brief quote from the chapter of the story that each represents.

The illustrations are followed by an exhibition of 10 photographs, in 60 x 90 cm format.

The third stage of the journey consists of a limited space, where a backstage video is shown that shows the functioning of the mechanism and the process of making the photographs.

Finally, visitors access a specially lit space, inside which the mechanism with which the photographs were taken is exposed and where they, after learning how it works, can look at each other and photograph themselves inside an interactive environment recreated to show its function and to allow guests to immerse themselves, some in the eyes of the narrator, some in the shoes of the photographed woman.

Francesca Floris was born in Oristano on April 6th 1992. She received her classical high school diploma in 2011, in Sassari. She graduated from Brunel University in London in 2014. In England she joined the art collective Ad Libitum Films, with which she made numerous short films, a web series and her first feature film, the documentary Isole. She moved to the United States in 2014 to pursue a master’s degree. She started working as a photographer at the end of 2015. Since then she has presented two personal exhibitions (Olympus 50 and Il palco bianco) and taken part in two group exhibitions. She attended the Producing course at the “Centro Sperimentale di Cinematografia” in Rome in the 2016-2018 three-year period. At the moment she is graduating in Anthropology at the University of Siena.

The World of Las is her second project of staged photography. The first one was Il palco bianco (2017).

Meteoriti a Roma – Giorgio Russi – curated by Antonello Rubini – Opening March 9th at 6.00 pm.

February 12, 2019

“I think it is not difficult to immediately realize that the most relevant key to reading for the intelligence of Giorgio Russi’s painting regards the dream-like dimension”. So the great Enrico Crispolti – who worked closely with Russi, at least for all the eighties, considering him then one of the most significant figures emerging in the Italian artistic landscape – opened the part dedicated to him in his text in the catalog of shows Casciello, Gadaleta, Russi. A current triangulation, held at the Galleria Comunale d’Arte Contemporanea of ​​Arezzo in 1986. A statement, therefore, of more than thirty years ago, but which besides well framing the imaginative area of ​​making of Russians of that period, the best known (among the most iconic celestial landscapes dominated by the presence of strongly disquieting birds, first, and more essential scenarios, now more less vaguely landscaped inhabited by mysterious “flames”, then), is perfectly fitting also to the current work of the artist , which constitutes the present exhibition. And it is the sign not only of a coherence, of a continuity (even if his art has made its way since then), but of the existence of a certain field to which Russi necessarily continues to respond, thus feeling almost always intimately as own. (…) Antonello Rubini

On show 20-25 recent works by Giorgio Russi including paintings and sculptures.

Giorgio Russi was born in Turin on December 29, 1946, he lives and works in Treviso. After the Diploma of Art Master and Applied Arts Maturity he obtained the Diploma of Sculpture at the Academy of Fine Arts in Rome under the guidance of Pericle Fazzini. From 1971 to 1988 he was a lecturer in Sculpture at the State Art High School of Teramo. Since the early eighties he has carried out an intense and significant artistic activity by participating in numerous national and international exhibitions. Winner of the National Competition, from 1988 to 2011 he was Dean of the Liceo Artistico Statale di Treviso.

Luigi Di Sarro’s artwork in the big exhibition at Gallery of Modern Art in Rome. January 24th – October 13th 2019

January 20, 2019

About 100 works, between paintings, sculptures, graphics and photography, some of which have never been exhibited before or not exhibited for a long time, coming from the contemporary art collections of Rome – GAM.Galleria d’Arte Moderna and MACRO – to document how the female universe has always been the object a favorite of artistic attention, from an object to admire, as an angel or a temptress, to a mysterious subject who wonders about his identity up to the new image born of the contestation of the Sixties.

It’s Women. Body and image between symbol and revolution, exhibition that the Gallery of Modern Art hosts from January 24 to October 13, 2019. The exhibition path is accompanied by documentary material, video installations, photographic and film documents taken from cinematographic works and newsreels, as well as from performance videos and artist films.

In the series of portraits on the second floor of the exhibition stands out, among others, the face of Elisa, the wife of Giacomo Balla, portrayed while he turns to look at something or someone behind him. The iconic value of the image is enclosed in the look that changes the amazement in seduction and curiosity transforming the portrait of the young woman from an object to admire to a mysterious subject.

The exhibition itinerary is accompanied by video installations, photographic and filmic documents taken from cinematographic works and newsreels from the Bologna Film Library and the Istituto Luce-Cinecittà Archive which have overseen their implementation.

In a room of the exhibition is shown the film, produced by the Istituto Luce, Bellissima (2004) by Giovanna Gagliardi which, through historical documents of the Luce Archive, film clips, popular songs and interviews tells the story of women’s journey in the twentieth century .

The last section of the exhibition, dedicated to the dynamics and relationships between the developments of contemporary art, women’s emancipation and feminist struggles, presents documentary material from ARCHIVIA – Women’s Libraries Documentation Centers – and testimonies of performance and film artist of some protagonists of that fundamental season coming from private collections, important museums and public institutions (Museum of Rome in Trastevere, Centro Sperimentale di Cinematografia – National Film Library, Galleria Civica of Modern Art Turin, MAMbo – Museum of Modern Art of Bologna, MART – Museum of Modern and Contemporary Art of Trento and Rovereto – Tullia Denza Archive).

GAM: Via Francesco Crispi, 24 – 00187 ROMA ITALY

web site: 
http://www.galleriaartemodernaroma.it

SEGNI. Photographs, drawings and sculptures by Luigi Di Sarro, curated by Carlotta Sylos Calò. 11 October- 14 November 2018 MLAC – Museo Laboratorio di Arte Contemporanea, Rome

September 23, 2018

In the fortieth anniversary of the death of Luigi Di Sarro, the exhibition organized by the MLAC with Centro Di Sarro offers a glimpse of the production of Luigi Di Sarro between the 1960s and the 1970s, highlighting the transversal nature of his approach to techniques and materials and his characteristic conception of the “sign” as a generative element of shapes and spaces, without a real caesura between abstraction and figuration, evident both in graphic and pictorial work, and in photography and sculpture.

Di Sarro, avid experimenter in his artistic activity, has practiced drawing, painting, engraving, sculpture, photography and performance, focusing in particular on themes related to the body, movement, light and abstraction capacity of the sign and the geometric figures. Di Sarro died only thirty-seven years old, killed for a fatal misunderstanding in the tense climate of the years of lead in Rome, on February 24, 1979; he left a vast artistic production (paintings, drawings, photographs, sculptures, graphics, projects, notes, aphorisms). Works by Luigi Di Sarro are in several Italian and foreign public collections (including GNAM, MACRO, Palazzo Braschi and the National Institute for Graphic Design in Rome, Pompidou Center in Paris).</p>

Active since 1987, the Museo Laboratorio di Arte Contemporanea-MLAC, directed by Prof. Claudio Zambianchi, has been proposed since the beginning as a meeting place between the university and the contemporary cultural world, distinguishing itself for its vocation to research and training. Among the initiatives that have animated the program for thirty years, there are exhibitions, conferences, round tables, book presentations, festivals, video reviews and musical proposals, which aim at first hand to put in contact the most lively artistic and cultural realities of the moment with the students and scholars of the University, often coming to involve them actively. In the same way, the will to open up to the city is strong, involving all citizens through the proposal of a very varied program.
Exhibitions and events promoted and organized by the MLAC take place in the spaces set aside in 1985 by the La Sapienza University of Rome, at the Rettorato Building, in the heart of the University City.

www.museolaboratorioartecontemporanea.it

On the occasion of organizing and carrying out the exhibition the MLAC offers a possibility of internship to students who have an interest in deepening in the field the craft of the historian and art critic in all facets. The internship foresees, in fact, an active commitment both during the preparation stage, with the possibility of working in close contact with the curators, and during the opening period of the exhibition, managing the guided tours, the reception of visitors and, last but not least , all the work related to the promotion of the exhibition, learning to manage the various online communication channels, from the blog to the main social networks.

 

SEGNI disegni e fotografie di Luigi Di Sarro, curated by Carlotta Sylos Calò – Istituto Italiano di Cultura in Warsaw (2018, May 30th-June 28th) and Krakow (2018, July 6th-September 6th)

May 27, 2018

The celebrations on the occasion of the 40th anniversary of the death of Luigi Di Sarro go on with a series of events in Italy and abroad and the aim of spreading and deepening a multifaceted artistic production that is still considered highly topical today.

The tribute to Luigi Di Sarro, an artist active in the Sixties and Seventies – a period that is now being brought to the attention of the critics for the innovative pushes into contemporary art – wants to highlight his strong experimental vocation. An attitude and a need on the part of the artist who proceeded experimenting in all the fields and in all the expressive techniques with which he worked (besides photography, painting, drawing, sculpture and graphics). Italo Zannier writes in an essay on Di Sarro’s photographic research: […] but what is experimentation if not the result initiated by an idea? They are also the imprecise ‘photodynamics’ of Bragaglia as the ‘strobophotographies’, the ‘luminographies’, the ‘chronophotographies’, the “corporal” sequences of Luigi Di Sarro. These images are first of all results, not “trials”, as the “experiments” would be like. Experimentation is in fact implicit in doing and we do not know where it leads and when it will complete, if it will end; and woe, however, if we were to conclude, because every phase of it is already a result. […] Luigi Di Sarro – photographer, has realized his visual rite with an extraordinary expressive happiness, even lucid and dense but of irony, dramatic also, disturbing […]. (in I. Zannier, Luigi Di Sarro) Discovering Photography, 2001.)

In addition to the material kept in the Historical Archive dedicated to the artist, two substantial collections of photographic works are kept at the National Gallery of Modern Art and the National Institute for Graphics in Rome. Moreover, in 2009, some of the artist’s photographic works were acquired in the collection, and consequently also exhibited, in Paris by the Pompidou Center. The acquisition was curated by Quentin Bajac.

The ongoing archiving of the amount of work that the artist has left allows today to deepen and connect many issues, in the immediate not obvious. Numerous so far are the scholars who wrote about Di Sarro, who have studied a large part of his production, and many more are still under study. The occasion of the anniversary is to be a new and prolific opportunity to analyze a work that is increasingly revealed as a broad theorem argued in many directions, as if it were an encyclopedic atlas.

The exhibition SEGNI disegni e fotografie di Luigi Di Sarro curated by Carlotta Sylos Calò for the spaces of the Italian Institute of Culture in Warsaw and Krakow, in Poland,  is one of the many possible research about the links that Di Sarro studied and experimented. In the premises of IIC Warsaw are exposed some series of experimental photographs, a group of drawings and some etchings produced at the turn of the ’60s and’ 70s. 

Di Sarro’s research, writes the curator in the catalog published by the italian Institute of Culture: “became radicalized in terms of his experimental approach – dictated in part by his dual profession, given that Di Sarro is not only an artist but also a physician – and matured in terms of his irreverent use of materials (netting, bitumen, iron rods, brushes, pencils, photography) that could bring out particular evocations in the forms he created. In this context, the sign in particular took on an extraordinary power to generate forms and spaces, still (but now more consciously) without any real caesura between abstraction and figuration, thanks to the enduringly transversal nature of his approach to techniques”.

Following  the show and opening at IIC CRACOVIA (July 6th-September 6th 2018) pictures.

Following the Opening at IIC Warsaw (30 May-28 June 2018) pictures.