“The archives are silent giants”. Thus Urs Stahel debuts in his presentation of the exhibition La forza delle immagini. Collezione MAST. Una selezione di fotografie su industria e lavoro (The power of images. MAST Collection. A selection of photographs on industry and work).
The exhibition is part of Fotografia Europea. Mappe del tempo. Memoria, archivi, futuro (Fotografia Europea. Maps of time. Memory, archives, future) which takes place in Reggio Emilia and with another extension in Parma at CSAC with Objets trouvés. Archivi per un grande magazzino (Objets trouvés. Archives for a department store).
The department store, in the specific case refers to the Rinascente, is, according to Francesca Zanella, “a metaphor of the archive and field of investigation particularly appropriate for an archive of archives of images and projects of the twentieth century (art, architecture, design, photography , editorial and advertising graphics, fashion) to test survey methodology and storytelling”. For the exhibition in Bologna, on the other hand, it is the world of industry that provides the material of reflection: the environments that characterize the industrial and technological system, architecture, people, workers and executives, the most enviable or terrible working conditions through the eyes of a number of artists including Rémy Markowitsch (Zurich, Switzerland, 1957) with Psychomotor, 2016, 25 images of machines that, seen together, seem more living than cold scrap metal.
Reggio Emilia is invaded by several exhibitions that deepen the subject “the era of the archives” that characterizes this historical period. From the Internet effect to the theme of globalization. Starting from Luzzara, Un paese, the photographic-literary work by Cesare Zavattini and Paul Strand to get to the Breve storia della fotografia sudafricana, 100 photos taken over the past 100 years, obviously touching the Apartheid archive with images by strangers to the powerful photographic firms of Zanele Muholi, here with Nozaki II, an extraordinary black queen, of which we talked in the last issue of Juliet.
Maurizio Ferraris speaks of the Rivoluzione documediale (documedial revolution), the web is the fourth revolution after Copernicus, Darwin and Freud. Elio Grazioli and Walter Guadagnini talk about Archives of the Future. Works such as those of Teresa Giannico, Lay out, provide in fact a documentary work on sharing living spaces, playing on one side on the fake and on the other on the intrusion into space with various materials. Joan Fontcuberta introduces us to the Nouveaux Encyclopédistes, Roberto Pellegrinuzzi, for example, shows 275,000 digital prints on Backlite film in his Memoires, Parisian Laundry, le mois de la Photo a Montreal, 2015, where everyone catalogs, orders, takes from the internet and classifies .
Fabrica Photography, the research center of Benetton Group founded by Benetton and Toscani, presents 37 artists with a strong vision of the world. And also Giovane Fotografia Italiana #05 Loop that gives the vision of the new generations. Or a dive in the past with Foto-grafia. Tra immagine e memoria from the collections of the Photographic Library of Panizzi Library. From Daguerreotypes to today.
Fotografia Europea 2017 – XII edizione
Mappe del tempo. Memoria, archivi, futuro
Reggio Emilia, from May 5 to July 9, 2017
Rémy Markowitsch, Psychomotor, 2016. Courtesy Galerie EIGEN + ART LeipzigBerlin
Andile Buka, Sartist Sport,-Yeoville Tennis Club, 2014. Courtesy the Artist
Moira Ricci, Dove il cielo è più vicino, 2014. Courtesy l’artista, Associazione Culturale Lo Scompiglio e Galleria Arte Contemporanea LaVeronica