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Vintage pigment print, printed in 2008
cm 79 x 99 | 31.1 x 38.9 in.
Edition 1 of 15
After graduating in architecture, Gabriele Basilico (Milan, 1944 - 2013) dedicated himself totally to photography, immediately revealing an analytical and dry style following Walker Evans' model, thanks to which in 1984 he was the only Italian to participate in the Mission Photographique de la DATAR. Since then, he has had many assignments in metropolises all over the world, from Beirut to Bilbao, from San Francisco to Shanghai, from Moscow to Paris, not forgetting Rome and Milan, exhibited in museums and institutions and published in carefully edited photographic books. His awards include the Prix Mois de la Photo, the Osella d’oro of the Venice Biennale.
cm 79 x 99 | 31.1 x 38.9 in.
Edition 1 of 15
Photographer's didactic label with signature in black ink applied on the verso of the frame
FramedAfter graduating in architecture, Gabriele Basilico (Milan, 1944 - 2013) dedicated himself totally to photography, immediately revealing an analytical and dry style following Walker Evans' model, thanks to which in 1984 he was the only Italian to participate in the Mission Photographique de la DATAR. Since then, he has had many assignments in metropolises all over the world, from Beirut to Bilbao, from San Francisco to Shanghai, from Moscow to Paris, not forgetting Rome and Milan, exhibited in museums and institutions and published in carefully edited photographic books. His awards include the Prix Mois de la Photo, the Osella d’oro of the Venice Biennale.
A great master of black and white, Gabriele Basilico was also a great master in his particular interpretation of color. Placed side by side, these two photographs illustrate very well the coherence that moved him beyond the chromatic choices. The first work is part of the project: Mathosinhos. There is no space or architecture without light, and it was born from the meeting with the Portuguese architect Alvaro Siza who was born in that town and who in the book that is the catalog of the exhibition of the same name combines his drawings with photographs. The presence of water (here it is that of the ocean overlooked by the local industrial port) is a constant that is found ten years later in that of the Tiber. To interpret Rome in his own way, Basilico chooses to do so using the river as a guide from which to be accompanied to create an authentically original work, devoid as it is of any rhetoric.
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