It looks like you're interested in buying some art.
The future is PINK! And so is this beautiful house photographed by Dan Graham in 2010 in our lovely city, Brescia. Here's the perfect idea for a joyful and bright beginning of the year. Write now!!!
Vi aspettiamo, se volete chiamate il 019/65432 e lasciate un messaggio. Qui non rimane che prepararci per la vostra visita. Potete rimanere alcuni giorni. Sarà molto bello insieme. Love Icaro's
You made it! This is a special content
selected by me from the gallery archive.
Come back here every month for
something old and exiting.
xxx Max
The Massimo Minini Gallery, in cooperation with the Fondo Eredi Luigi Ghirri, is happy to announce the exhibition Luigi Ghirri – Towards an idea of landscape, curated by Elena Re.
Based on a selection of vintage prints carried out at the Fondo Eredi Luigi Ghirri and of some modern prints curated by Paola Ghirri, the exhibition shows the main series and the main projects of photographic research developed by the artist in the seventies.
The activity of Luigi Ghirri actually started in 1970, moved by his particular sensitiveness influenced by conceptual artists and by the contribution of well-known photographers on the international scene. His lively curiosity immediately brought into his own poetics the suggestion of a plurality of languages and artistic expressions that belong to worlds which are only ostensibly far away.
I myself can’t say if I’ve been mostly enlightened by the musical and poetic landscapes of Dylan, Oldenburg’s sculptures-architectures, the visions of Friedlander and Robert Frank or the ethical rigour of Evans. Or maybe it was rather Brueghel’s cosmogonies, the ghosts of Fellini, Alinaris’ views, the silences of Atget, the precision of the Flemish painters, the purity of Piero della Francesca or the colours of Van Gogh. (Luigi Ghirri).
The pieces of the exhibition, dating within the first ten years of Ghirri’s activity, should hence be interpreted in the light of these presuppositions. The Fotografie del periodo iniziale as well as the works in the series Kodachrome, Catalog, Diaframma 11, Colazione sull’erba, Italia ailati, In scala, Il paese dei balocchi should indeed be observed with an eye open to the amazement and to the complexity of vision. In contrast, the series Atlante vigorously presents the theme of an imaginary journey with as less movements as possible, on the pages of a simple glider. A journey that, by the end of the seventies, would once more require the author to explore a new territory dedicated to memory, to which the series Still Life and Topographie Iconographie (both showing) belong. These marked the end of the first period of an artistic research that, during the 80s, would go as far as to elaborate a new idea of landscape. A new idea which the exhibition honours with some pieces of Ghirri’s work on the Italian landscapes.