Dopo la mostra a Parigi, presso lo Jeu de Paume, Florence Henri è arriva nelle Grandi Aule delle Terme di Diocleziano a Roma. … FLORENCE HENRI, ATTRAVERSO LO SPECCHIO
di Gaia Palombo
«La sua presenza aveva la semplicità intelligibile di una pietra: in piena città, mi sembrava di essere di notte in montagna, tra solitudini senza vita».
(Georges Bataile in Pierre Angélique, Madame Edwarda, Éditions du Solitaire, 1937) … GIULIA MARCHI, MULTIFORMS
Last 23rd of September, The Contrasto Gallery in Milan presented the exhibition Where tomorrow is yesterday, a selection of shots made by Alex Webb in India, a project full of cultural and symbolic values, where the street photographer’s cosmopolitan gaze has dilated to gather the living of a particular world portion.
What you call Italy is a stone garden to my eyes.
This is its strength, its beauty, and its tragedy. This is its fascination, its unchanging essence, the heart-wrenching form of its destiny.
In this history, which dominates and exceeds us, emotionless to our stories, to our little urgencies, which are the most authentic and sincere images of our life exactly because of their transience, I’ve never found my place.
curated by Vera Viselli
If the American contemporary art can be summed up in a name, that name is David LaChapelle: a photographer discovered and introduced to the world of art by Andy Warhol; a director awarded at Sundance Festival; in 2006, David LaChapelle offers his eyes and pays his attention at Italian historical painting and sculpture, Michelangelo’s works above all, and gains the concept of The Deluge, a monumental series settled for a kind of exhibition conceived not only for media but especially for museum. A sort of return to origin (his works have been exhibited at: The Musée D’Orsay of Paris, The Brooklyn Museum of New York, The Museum of Contemporary Art of Taipei, The Tel Aviv Museum of Art, The Los Angeles County Museum of Art, The National Portrait Gallery of London, The Fotographfiska Museet of Stockholm and The National Portrait Gallery of Washington DC) made by the fusion of his post-Pop surrealism and the classical feature of Michelangelo’s works, a kind of art so tough and massive to bring LaChapelle to a decisive turning point in his production.