Press Release
Adriano Altamira
Fotografie 1971-2010
Opening: June 10, 2010
June 11 – July 23, 2010
Fotografie 1971-2010
Opening: June 10, 2010
June 11 – July 23, 2010
After the 2008 show dedicated to the project Giudizio sul Giudizio, the Marconi Foundation is pleased to announce a new exhibition by Adriano Altamira that will bring together a selection of works from different periods of his activity.
The exhibition will present four portfolios of photographs: Area di Coincidenza, published in 1975 by Piero Cavellini; La Femme Visible made up by five works done before Area di Coincidenza plus a set of nudes from 1971, never exhibited after 1972; Piccola Apocalisse, a kind of synthesis of the original 165 images exhibited in 1999 and published by Méliène; and Visti per caso, 5 photographs from his most recent works dedicated to the traditional theme of vanitates: the inexorable passage of time seen through daily objects (unusual if compared to the classic tradition).
The exhibition will present four portfolios of photographs: Area di Coincidenza, published in 1975 by Piero Cavellini; La Femme Visible made up by five works done before Area di Coincidenza plus a set of nudes from 1971, never exhibited after 1972; Piccola Apocalisse, a kind of synthesis of the original 165 images exhibited in 1999 and published by Méliène; and Visti per caso, 5 photographs from his most recent works dedicated to the traditional theme of vanitates: the inexorable passage of time seen through daily objects (unusual if compared to the classic tradition).
Every portfolio is printed in ten copies.
In these four decades we can recognise the shift of the artist from the plain sensuality of the photo-sculptures in La femme visible to the analytic discourse in Area di Coincidenza.
After the Eighties Adriano Altamira started to use photography in a different way: his new images show chance accidents, unusual aspects of daily objects that, combined together, create a different reality, as documented by some artifacts on display which ideally complete the artist's research.
In these four decades we can recognise the shift of the artist from the plain sensuality of the photo-sculptures in La femme visible to the analytic discourse in Area di Coincidenza.
After the Eighties Adriano Altamira started to use photography in a different way: his new images show chance accidents, unusual aspects of daily objects that, combined together, create a different reality, as documented by some artifacts on display which ideally complete the artist's research.