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Milan Image Art Fair: Diana Lui, Euro Rotelli

By 4. 5. 2012 maj 12th, 2019 No Comments

Diana Lui, Euro Rotelli
Milan Image Art Fair

4.05.2012 – 6.05.2012
18:00

SuperstudioPiù via Tortona 27, Milan / Italy www.miafair.it

Diana Lui, Euro Rotelli
Milan Image Art Fair

SuperstudioPiù
via Tortona 27, Milan / Italy
www.miafair.it

May 3, 2012
Preview: 2.30 pm
Opening: 6pm (invitation only)

Opening hours:
Friday May 4,2012
from 12 am to 10 pm
Saturday May 5, 2012
from 11 am to 9 pm
Sunday May 6, 2012
from 11 am to 8 pm

Galerija Fotografija at MIA Fair:

Pad 2 Booth 60

DIANA LUI

…”Before they become a work of art, Diana Lui’s nudes are images of a body, but they are also the reflection of the social environment the model belongs to as well as of the history that has formed its identity to the point that the mere image of the nude is so strong,a name associated with it becomes unnecessary. We are not faced with the concept of identity in the way a government office would define it: passport size photograph, name, age, citizenship. The nude body that is revealed here, in part of whole, often has a complex history that cannot be reduced to mere informational data, rather by a few “biographical themes” or “biographèmes” – a term used by Roland Barthes – that help put together a story. We understand quickly that Diana Lui has selected people floating in a certain transit, in travels, in encounters,the type of people who live a roving life and only land momentarily at the end of long and curious journeys. Do these young women simply undress physically or through their discourse? Although it speaks highly of th eart of the nude, laying bare one’s body does not disclose much in terms of identity, nor do the few excerpts of biographical notes.

The real source of identityis in the eyes, their expression, their look that Diana Lui’s artistic treatment of the image and quality of the portrait lead us to. The gaze can be tense like a dart ready to strike, but also be a shield to protect the thoughts and sensibility of a defenseless model left there in a delicate yet sensual state of abandonment. Nature’s diversity in body shapes and forms are clearly visible. Yet, not one body resembles another, even if a certain and fragile grace created by the art of photography, links them together. The eyes however all speak to us, they look at us to reveal a thought or an emotion. But those darts and shields are in fact a decoy; they’re not there to frighten us away but on the contrary to pull us into an interior world”…

Anne Biroleau – Lemagny
Curator, 21stCentury Photography Department, Bibliothèque Nationale de France

Pad 2 Booth 76

EURO ROTELLI

…Rotelli’s photographs are of a very specific type and format; Polaroid snapshot is the sole protagonist of his action. This tiny portion of film is, however, not content with the initial appearance with which it comes to life. Rotelli subsequently uses the negative component of the Polaroid precisely as if it was the negative of the film, and is scanned to become a photographic print on cotton paper. But it is the pre-development phase, in which the photographer acts upon the positive part of the film that reveals what is to happen. His photos manifest the desire to assume an appearance different from that with which they have been immortalised, remote from but not in contradiction with what were their origins. The offered sign posits itself as a sudden and casual operation. The signal action inserted on the photographic surface by the artist reveals itself as an energising sign, potential graphic ready to trigger new, unexpected directions. The fragments and remains of gelatine linger on the flatness of the image. Their anchorage is not devoid of consequences. It is precisely this action undergone by the positive part of the film that triggers the vivification of the photographic fabric: at this point the two-dimensionality of the shot makes way for the strength of an almost sculptural tension. The image is moulded and assumes softer and more consistent contours. With unusual hope there arrives imperfection, sought-after, seized, and offered on the photographic paper. It is precisely in the defect, the exception and the imprecision that reside the advantages that enhance Euro Rotelli’s photos.
The artist does not seek clarity, he seeks poetry…

Marta Casati,
Curator

Diana Lui, Euro Rotelli

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