Estimate
€ 1.000 - 1.500
Aggiudicato
Current bid Starting bid
€ 800
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At auction on Wednesday 18 June 2025 at 16:00
Information
Vintage gelatin silver print on polycoated paper
cm 12,4 x 17,7 | 4.9 x 7 in.
Titled and dated with photographer's notes in black ink on the verso
Paolo Gioli (Sarzano di Rovigo, Rovigo 1942 - Lendinara, Rovigo 2022) has a dazzling education between Venice at the Academy of Fine Arts and New York where in 1967-1968 he is in contact with New American Cinema, the New York School and the gallery owners Leo Castelli and Martha Jasckson. Equally important in this period is his meeting with his friend Paolo Vampa, who supports and produces his work. Back in Italy, he made the first of his many experimental films in Rome and became interested in photography, using a camera he modified for photofinishing, bringing these experiences during the period 1970-1980 to Milan. There he discovered the expressive potential of Polaroid and the magic of pinhole imaging with works exhibited in the following years in important galleries in Milan, Paris, Arles, New York, Venice, Rome, and Florence. Shy by character, he returned after 1980 to his native city Polesine: by now exhibitions, books and awards certify him as one of the most interesting exponents of research photography not only in Italy.
In the works that we present here, we emphasize the close relationship that Paolo Gioli had, from the beginning, established between cinema and photography, languages that he immersed in a particular dimension, that of research. To remember that both, before arriving at the reassuring representation of reality, were generated by the anxiety given by the experimentation of materials, he has made suffered images with which the observer is called to confront. He does so already from the dialectical opposition between the history of the past and the use of contemporary materials such as the Polaroids of Geometrico continuo. Symptomatic then is “L’assassino nudo”, which refers to the film of the same name shot in 16 mm. (the author calls it a film-book) because Eadweard Muybridge, to whom it is dedicated, was the one who, by sequencing frames in fast-moving sequences, anticipated cinema. Gioli himself wrote, saying that he used three books to reproduce them: "I tried to animate the ink of moving images... but static ones. So, a film taken from the printing ink. Incredible, how right Nièpce was. In editing the film, I discovered what I could never have discovered by leafing through the three books i.e., an unintentional anticipation of film editing by Muybridge. Indeed, his camera angles appear to us as perfect television cutaways of exceptional actuality: direct edits before it was cinema."
cm 12,4 x 17,7 | 4.9 x 7 in.
Titled and dated with photographer's notes in black ink on the verso
Paolo Gioli (Sarzano di Rovigo, Rovigo 1942 - Lendinara, Rovigo 2022) has a dazzling education between Venice at the Academy of Fine Arts and New York where in 1967-1968 he is in contact with New American Cinema, the New York School and the gallery owners Leo Castelli and Martha Jasckson. Equally important in this period is his meeting with his friend Paolo Vampa, who supports and produces his work. Back in Italy, he made the first of his many experimental films in Rome and became interested in photography, using a camera he modified for photofinishing, bringing these experiences during the period 1970-1980 to Milan. There he discovered the expressive potential of Polaroid and the magic of pinhole imaging with works exhibited in the following years in important galleries in Milan, Paris, Arles, New York, Venice, Rome, and Florence. Shy by character, he returned after 1980 to his native city Polesine: by now exhibitions, books and awards certify him as one of the most interesting exponents of research photography not only in Italy.
In the works that we present here, we emphasize the close relationship that Paolo Gioli had, from the beginning, established between cinema and photography, languages that he immersed in a particular dimension, that of research. To remember that both, before arriving at the reassuring representation of reality, were generated by the anxiety given by the experimentation of materials, he has made suffered images with which the observer is called to confront. He does so already from the dialectical opposition between the history of the past and the use of contemporary materials such as the Polaroids of Geometrico continuo. Symptomatic then is “L’assassino nudo”, which refers to the film of the same name shot in 16 mm. (the author calls it a film-book) because Eadweard Muybridge, to whom it is dedicated, was the one who, by sequencing frames in fast-moving sequences, anticipated cinema. Gioli himself wrote, saying that he used three books to reproduce them: "I tried to animate the ink of moving images... but static ones. So, a film taken from the printing ink. Incredible, how right Nièpce was. In editing the film, I discovered what I could never have discovered by leafing through the three books i.e., an unintentional anticipation of film editing by Muybridge. Indeed, his camera angles appear to us as perfect television cutaways of exceptional actuality: direct edits before it was cinema."
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Condition report
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