Information
150 polaroids mounted as a mosaic
cm 85 x 143 approx. | 33.5 x 56.3 in. approx.
Unique work
Titled, dated and signed in pencil on the white inferior recto margin
Framed
Maurizio Galimberti (Como 1956) has been passionate about photography since he was a boy, shooting in black and white, but also using a panoramic Widelux camera as proof of his passion for research. After leaving his job as a surveyor, he married the profession of photographer using almost exclusively, since 1983, the Polaroid instant film of which years later he would become testimonial. An acute scholar of the avant-garde, he makes the Dada, Surrealist, and Futurist language his personal language to create projects on portraiture, landscape, and revisiting historical images that are exhibited in galleries and museum spaces, published in books and magazines, and used for advertising campaigns.
Even though his is a more wide-ranging research (this is confirmed by a booklet published by Polaroid Italia where he indicates the many creative possibilities of film) that includes ready-made and transfer, the manipulation of individual pictures during development and frottage, it is with the mosaic technique that Galimberti has made himself known and appreciated. Using a special spacer, he breaks down faces and bodies and then puts them back together in an explosion of forms, and he uses the same visual approach, but this time without a spacer - since the days of “Vucciria” his first important site of an overall gaze - in front of the landscape. As a great soccer fan, here the photographer offers us two considerations on the sport: in one he focuses on the daring architecture of the Meazza stadium in Milan, which he revisits here by inserting its details in an image that expands horizontally, while in the other he emphasizes, in the multiplication of details, the dynamism of the disorienting and shameless gesture with which Maradona went down in history and myth, not only in soccer.
cm 85 x 143 approx. | 33.5 x 56.3 in. approx.
Unique work
Titled, dated and signed in pencil on the white inferior recto margin
Framed
Maurizio Galimberti (Como 1956) has been passionate about photography since he was a boy, shooting in black and white, but also using a panoramic Widelux camera as proof of his passion for research. After leaving his job as a surveyor, he married the profession of photographer using almost exclusively, since 1983, the Polaroid instant film of which years later he would become testimonial. An acute scholar of the avant-garde, he makes the Dada, Surrealist, and Futurist language his personal language to create projects on portraiture, landscape, and revisiting historical images that are exhibited in galleries and museum spaces, published in books and magazines, and used for advertising campaigns.
Even though his is a more wide-ranging research (this is confirmed by a booklet published by Polaroid Italia where he indicates the many creative possibilities of film) that includes ready-made and transfer, the manipulation of individual pictures during development and frottage, it is with the mosaic technique that Galimberti has made himself known and appreciated. Using a special spacer, he breaks down faces and bodies and then puts them back together in an explosion of forms, and he uses the same visual approach, but this time without a spacer - since the days of “Vucciria” his first important site of an overall gaze - in front of the landscape. As a great soccer fan, here the photographer offers us two considerations on the sport: in one he focuses on the daring architecture of the Meazza stadium in Milan, which he revisits here by inserting its details in an image that expands horizontally, while in the other he emphasizes, in the multiplication of details, the dynamism of the disorienting and shameless gesture with which Maradona went down in history and myth, not only in soccer.
Contact
Condition report
To request a Condition Report, please contact fotografia@finarte.it
The department will provide you with a general report of the condition of the property described above. Please note that what Finarte declares with respect to the state of conservation of the objects corresponds only to a qualified opinion and that we are not professional conservators or restorers.
We urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. We always suggest prospective buyers to inspect each lot to satisfy themselves as to condition during the exhibition days as indicated in the catalog.
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