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Information
Vintage gelatin silver print, mounted on original passepartout
cm 40,4 x 50,4 (cm 37 x 37 picture ; cm 58 x 58 passepartout) | 15.9 x 19.8 in. (14.6 x 14.6 in. picture ; 22.8 x 22.8 in. passepartout)
Edition 1 of 3
Signed and dated in pencil on the passepartout recto and titled, signed, dated and numbered in pencil on the verso
Framed
A nice title of a recent solo exhibition well defines Mimmo Jodice's research, because the enigma of light is the characteristic that helps us understand that very special fascination that emanates from images such as the ones presented here. To understand them, we need to go back to the time when Jodice, by his own admission, having accepted that the change in which he had believed in the 1970s was not possible, made an ethical and aesthetic change that led him to show a Naples without people but not without a soul. What he is looking for thus becomes a study of what space can tell, as is clearly evident in the almost chilling image of the Albergo dei poveri where that iron bed placed across the room attracts attention with an intense evocative force. The sense of timelessness and that strange light that often emanates from the shapes playing with shadows characterises the second image so powerful in its compositional rigour. These are two works that stand, in a perfect even if not immediately obvious continuity, with his early research work when Jodice more than anything else wanted to photograph ideas.
cm 40,4 x 50,4 (cm 37 x 37 picture ; cm 58 x 58 passepartout) | 15.9 x 19.8 in. (14.6 x 14.6 in. picture ; 22.8 x 22.8 in. passepartout)
Edition 1 of 3
Signed and dated in pencil on the passepartout recto and titled, signed, dated and numbered in pencil on the verso
Framed
Provenance
Arte Moderna e Contemporanea, Christie's Milan, May, 21st, 2007, lot 379
Literature
M. Jodice (edited by), Reale albergo dei poveri, Federico Motta Editore, Milan, 1999, p. 91 (another illustrated example)
Mimmo Jodice (Naples 1934) was interested in art, theatre, music and began as a self-taught artist in drawing and painting. This brought him closer to photography in the early 1960s, which he practised by experimenting with materials, codes and languages, as he was immersed in the neo-avant-garde atmosphere: he breathed it in the galleries of Amelio, Trisorio and Rulla and made it his own by frequenting artists such as Warhol, De Dominicis, Beuys, Kosuth and Kounellis. He expanded his interests first to anthropology and then to a new definition of urban space, which remains, together with his research into myth, his fundamental contribution to the non-documentary image confirmed in exhibitions, books and in awards such as his two honorary degrees in architecture in Italy and Switzerland.A nice title of a recent solo exhibition well defines Mimmo Jodice's research, because the enigma of light is the characteristic that helps us understand that very special fascination that emanates from images such as the ones presented here. To understand them, we need to go back to the time when Jodice, by his own admission, having accepted that the change in which he had believed in the 1970s was not possible, made an ethical and aesthetic change that led him to show a Naples without people but not without a soul. What he is looking for thus becomes a study of what space can tell, as is clearly evident in the almost chilling image of the Albergo dei poveri where that iron bed placed across the room attracts attention with an intense evocative force. The sense of timelessness and that strange light that often emanates from the shapes playing with shadows characterises the second image so powerful in its compositional rigour. These are two works that stand, in a perfect even if not immediately obvious continuity, with his early research work when Jodice more than anything else wanted to photograph ideas.
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