Information
Vintage chromogenic print
cm 39,5 x 30 | 15.5 x 11.8 in.
Signed and dated with 21/250 in black ink on the image
Nino Migliori (Bologna 1926) is an author with an extraordinary vitality and a desire for research so intense that it has led him, since 1948 when he began his professional career, to work on two parallel lines. On one hand he has expressed himself with classical images in the style of straight photography and on the other, having frequented the Venetian milieu of Peggy Guggenheim, he has developed an incessant research on media and materials as well as on the relationship with conceptualism, the informal and the historical avant-garde as shown by the creation in 1982 of the futurist-inspired group Abrecal. Impossible here to mention all the exhibitions exhibited around the world, monographic volumes, teaching activities carried out in universities as kindergartens, and that of incessant cultural organizer. Since 2016 he has established a Foundation that bears his name.
The two photographs we present here show with immediate effectiveness the two lines of expression that Nino Migliori has always pursued doing so, it should be noted, simultaneously. Included in the series “ Gente dell'Emilia,” part with “Gente del Nord” and “Gente del Sud” of the trilogy of neo-realist taste made in the 1950s, “Il tuffatore” at a certain point somewhat unexpectedly takes on a strong autonomy of its own until it becomes one of the best-known (and most requested) photographs of the Bolognese photographer also for its ability to combine the classicity of a graceful black and white with the originality of a shot with a bold contemporaneity. This splendid “Ossidazione”-we decide to call it by the term indicating the technique used to make it despite the fact that like every abstract work it proudly refuses a title- belongs to the wide and varied series of research pursued by Migliori. It ranges from those pulled out of history such as collages, photograms, cliché-verre, images made with pinhole and calotypes to Polaroid processing. This is without forgetting hydrograms, pyrograms, lucigrams, photographs made by candlelight or inserted in candles. To show that imagination knows no boundaries.
cm 39,5 x 30 | 15.5 x 11.8 in.
Signed and dated with 21/250 in black ink on the image
Nino Migliori (Bologna 1926) is an author with an extraordinary vitality and a desire for research so intense that it has led him, since 1948 when he began his professional career, to work on two parallel lines. On one hand he has expressed himself with classical images in the style of straight photography and on the other, having frequented the Venetian milieu of Peggy Guggenheim, he has developed an incessant research on media and materials as well as on the relationship with conceptualism, the informal and the historical avant-garde as shown by the creation in 1982 of the futurist-inspired group Abrecal. Impossible here to mention all the exhibitions exhibited around the world, monographic volumes, teaching activities carried out in universities as kindergartens, and that of incessant cultural organizer. Since 2016 he has established a Foundation that bears his name.
The two photographs we present here show with immediate effectiveness the two lines of expression that Nino Migliori has always pursued doing so, it should be noted, simultaneously. Included in the series “ Gente dell'Emilia,” part with “Gente del Nord” and “Gente del Sud” of the trilogy of neo-realist taste made in the 1950s, “Il tuffatore” at a certain point somewhat unexpectedly takes on a strong autonomy of its own until it becomes one of the best-known (and most requested) photographs of the Bolognese photographer also for its ability to combine the classicity of a graceful black and white with the originality of a shot with a bold contemporaneity. This splendid “Ossidazione”-we decide to call it by the term indicating the technique used to make it despite the fact that like every abstract work it proudly refuses a title- belongs to the wide and varied series of research pursued by Migliori. It ranges from those pulled out of history such as collages, photograms, cliché-verre, images made with pinhole and calotypes to Polaroid processing. This is without forgetting hydrograms, pyrograms, lucigrams, photographs made by candlelight or inserted in candles. To show that imagination knows no boundaries.
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