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Vintage contact print
cm 23,5 x 30 (cm 20 x 25 picture) | 9.3 x 11.8 in. (7.9 x 9.8 in. picture)
Signed, dated, titled and dedicated in pencil on the verso
Framed
Guido Guidi (Cesena 1941) his studies in the field of industrial design and his interests in neorealism and conceptual art led him to elaborate a rigorous photographic style that investigates the spaces of a marginal architectural everyday life rarely at the center of interest. With this role he participates in important projects on the territory from “Viaggio in Italia” to “L' Archivio dello Spazio della Provincia di Milano and ‘Linea di Confine,’ the project he conceived with Paolo Costantini and William Guerrieri. Many exhibitions exhibited especially in international museums and institutions including the very recent solo show at Maxi in Rome and significant is his commitment to teaching in academies and universities in Venice, Milan, Lecce, Bari.
To understand Guido Guidi's photographic style, we must start from his use of a 20x25 view camera: this explains the meticulous attention he gives to his subjects, the rigor with which he creates formally impeccable frontal compositions capturing details that then appear surprising to us, the careful use of light that characterizes spaces where we can feel, implied, the human presence. He is an author who does not want to surprise because he is a photographer that moves in silence and demands attention. The detail of a window in Chioggia caressed by the stems of a bush evokes the breath of the wind that moves the grass and bangs on the aged wood of the barred shutter. In contrast, the landscape shot in Graz from the point of view of the foreground widens the gaze into a depth that is also symbolic and speaks to us of the great changes in the suburbs of post-industrial cities.
cm 23,5 x 30 (cm 20 x 25 picture) | 9.3 x 11.8 in. (7.9 x 9.8 in. picture)
Signed, dated, titled and dedicated in pencil on the verso
Framed
Guido Guidi (Cesena 1941) his studies in the field of industrial design and his interests in neorealism and conceptual art led him to elaborate a rigorous photographic style that investigates the spaces of a marginal architectural everyday life rarely at the center of interest. With this role he participates in important projects on the territory from “Viaggio in Italia” to “L' Archivio dello Spazio della Provincia di Milano and ‘Linea di Confine,’ the project he conceived with Paolo Costantini and William Guerrieri. Many exhibitions exhibited especially in international museums and institutions including the very recent solo show at Maxi in Rome and significant is his commitment to teaching in academies and universities in Venice, Milan, Lecce, Bari.
To understand Guido Guidi's photographic style, we must start from his use of a 20x25 view camera: this explains the meticulous attention he gives to his subjects, the rigor with which he creates formally impeccable frontal compositions capturing details that then appear surprising to us, the careful use of light that characterizes spaces where we can feel, implied, the human presence. He is an author who does not want to surprise because he is a photographer that moves in silence and demands attention. The detail of a window in Chioggia caressed by the stems of a bush evokes the breath of the wind that moves the grass and bangs on the aged wood of the barred shutter. In contrast, the landscape shot in Graz from the point of view of the foreground widens the gaze into a depth that is also symbolic and speaks to us of the great changes in the suburbs of post-industrial cities.
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