Nino Migliori: The Fifties

30.01.2018 to 31.03.2018

The National Gallery of Slovenia, in cooperation with the Galerija Fotografija gallery, is organizing an exhibition of more than two hundred photos of the most important Italian photographers from the period of Neorealism. The research on Italian cultural movement “Neorealismo” has concentrated mostly on literature and cinema with little acknowledgement of the field of photography […]

Nino Migliori has been developing some of the most articulated and interesting research in European image culture since 1948.

From the very beginning he worked to produce neorealist sequential-narration photographs as well as new and original experiments in materials.

In the late 1960s Migliori’s work began to take on a more conceptual approach, a trend that prevailed in his work in the years to come.

Each of his productions is the result of a precise project rooted in the power of vision, a subject characterises all of his work.

As an author he is well suited to representing the exceptional adventure of photography that starts as a documentary scheme and later assumes values and content that more closely relate to art, experimentation and interplay.

Today we consider Migliori a true architect of vision.

The National Gallery of Slovenia, in cooperation with the Galerija Fotografija gallery, is organizing an exhibition of more than two hundred photos of the most important Italian photographers from the period of Neorealism.

The research on Italian cultural movement “Neorealismo” has concentrated mostly on literature and cinema with little acknowledgement of the field of photography of the era. But it is exactly in photography where it has probably produced its highest and most coherent expression.

Neorealism – the new image in Italy 1932–1960” analyses the existing relationship between photography and other fields of art, such as cinema and literature. The inspiration and reasons that drove the various authors are addressed in order to show the way they worked. Although they started from many diverse points of view and cultural approaches, their work led to an outcome which became coherent. This project also introduces a new interpretation of the phenomenon based upon the idea that the roots of neo-realism can be found in the fascist period.

The exhibition unfolds through different sections, starting from the privileged standpoint of photography with nearly three hundred items of diverse typology. Next to the mostly vintage photographic prints are the original forums through which they were transmitted, such as illustrated magazines, photo-books and catalogues of exhibitions that have deeply influenced the evolution of photographic expression. The section devoted to the literature of the period illustrates the works that marked and influenced the epoch and presents profiles of the major authors. The world of cinema is represented with the most renowned movie posters and through significant film cuts of the period, acting as didactic material throughout the exhibition. Three DVDs have been created specifically by Professor Gian Piero Brunetta in conjunction with the department of Film Studies of the University of Padova for this exhibition.

All images and additional materials, such as related publications, are organized by themes in order to highlight the main characteristics of the neo-realistic image and to present the work of the photographers who were active at the time in the right perspective.

 

In the Galerija Fotografija gallery the exhibition entitled “The Fifties” will present  works by one of the most important photographers of Italian neorealism, Nino Migliori.

 

Photographs are by Carlo Bavagnoli, Gianni Berengo Gardin, Piergiorgio Branzi, Alfredo Camisa, Mario Carbone, Mario Carrieri, Tranquillo Casiraghi, Alfa Castaldi, Cesare Colombo, Carlo Cosulich, Carlo Dalla Mura, Pasquale De Antonis, Mario De Biasi, Nino De Pietro, Mario Dondero, Ernesto Fantozzi, Tullio Farabola, Mario Giacomelli, Giancolombo, Mario Ingrosso, Alberto Lattuada, Giuseppe Leone, Sante Vittorio Malli, Cecilia Mangini, Nino Migliori, Ugo Mulas, Federico Patellani, Franco Pinna, Stefano Robino, Fulvio Roiter, Chiara Samugheo, Tazio Secchiaroli, Enzo Sellerio, Roberto Spampinato, Pablo Volta, Ugo Zovetti and many others.

 

The exhibition project was carried out in collaboration with Admira Agency, Milano. 

Main Sponsor: Avto Triglav

Sponsors: Zavarovalnica Triglav, Riko, Malizia, Pivovarna Union Laško, Europlakat, Malalan, Unicredit bank

Media sponsor: Delo

Partners: Admira, Italijanski Inštitut za kulturo v Ljubljani, Italijansko-slovenski Forum italo-sloveno

 

Curator
Enrica Viganò

Project leaders
Barbara Čeferin
Tina Buh

 

29 January 2018 – 31 March 2018:
National Gallery of Slovenia: Neorealism – the new image in Italy 1932–1960

30 January 2018 – 31 March 2018:
Galerija Fotografija gallery: Nino Migliori, The Fifties

Accompanying programme:

16.2., at 11h, a lecture by Luca Beatrice (art critic, curator, and professor at Albertina Academy in Torino), The Influence of Neorealism on Later Generations of Italian Painters 

 

Nino Migliori: The Fifties

 

In post-war Italy a new style emerged that stood opposed to the official images of the Fascist era, to the rhetoric of parades and formal portraits. This new, innovative photography was also different from the amateur photography that revealed a contemplative vision of the world associated with certain thematic tendencies – landscapes and still lifes, where effects in photographing and printing were very similar to those employed in pictorialist research.

This new trend was generally referred to as Neorealismo, the same term applied to filmmaking and similar fields of art – for we must also acknowledge that neorealism also extended to painting, to sculpture, to poster art and more. Moreover we must underline that in photography, as well in other artistic fields, there are far more manifestations of neorealism – and in this situation Nino Migliori’s position was absolutely new.

Nino Migliori worked in northern Italy from 1948 to 1959, and in southern Italy in 1956; his approach was entirely new, and without compare among Italian and European photographers alike. Migliori did not wish to produce mere documentation. Instead and above all he wished to create a dialogue with the people he captured by means of building stories with his pictures. So Migliori proposes sequences – for example, the women on the stairs, in black-on-white steps.

Migliori never proposes generalities, because he observes and reads the space in a highly personal manner. His southern architectures must be read as single-shot sequences, as a kind of condensed narration where we can find singular stories: the one of the foreshortened impression of a village, the one of the two women hand-in-hand, and all of the others that we discover gradually, like an excavation of the inside of each picture. And incredibly, Migliori explored all of these because he observed and spoke at length with these people before shooting. The thresholds in the south represent another typical framework for Migliori’s motifs. Using his Rolleiflex he captures accurate, live images where the hierarchies that order the figures on the thresholds are clear but varied, where inside each shot there is always light coming from behind, an element of rupture, a movement that refers to the story. And the light in every photograph is impressive – dazzling light or deep, gloomy shadows; windows cut out in the dark, and figures as apparitions that emerge out of a different dimension of the story.

Migliori discovered a different way in photography, bringing together the experience of film, social tension, and the strength of storytelling by means of photographs of particular invention and human sensitivity.

 

Arturo Carlo Quintavalle

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