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Vintage chromogenic print
cm 29,7 x 38,6 (cm 24,4 x 31,6 picture) | 11.7 x 15.2 in. (9.6 x 12.4 in. picture)
Titled, signed and dated in pencil on the white inferior recto margin
Framed
Olivo Barbieri (Carpi, Modena 1954) approached photography in the early 1970s in Bologna, where he attended the extraordinary hotbed of talent that was DAMS. Fascinated by the artificial lights that illuminate the night in urban centers, he used them for his first works with which he introduced himself to Luigi Ghirri who in 1984 included him, the youngest among the participants, in the great project “Viaggio in Italia.” In the 1990s he travels to the East and particularly to China, developing a different style: landscapes and architecture are made with aerial shots and a selective focus that highlights only certain levels. He establishes himself internationally with exhibitions - from the Venice Biennale to the New York Triennial - catalogs and videos.
The two images presented here are particularly significant examples of two distinct yet complementary ways of observing reality that characterise the vision of one of the most intriguing photographers to have shaped the contemporary interpretation of the landscape – particularly the urban landscape – decisively moving away from predictability in favour of a seductive theatricality. He achieves this, as in the photograph taken in Rome, through a frontal composition of absolute rigour where symmetry becomes balance, emphasised by the delicate colour palette chosen to evoke the city’s atmosphere. In stark contrast, precisely to highlight the intense dynamism running through the spectacular urban transformation currently taking place there, is the photograph taken in Shanghai, featuring a bold shot that invites the eye to lose itself amongst the building’s structures.
cm 29,7 x 38,6 (cm 24,4 x 31,6 picture) | 11.7 x 15.2 in. (9.6 x 12.4 in. picture)
Titled, signed and dated in pencil on the white inferior recto margin
Framed
Olivo Barbieri (Carpi, Modena 1954) approached photography in the early 1970s in Bologna, where he attended the extraordinary hotbed of talent that was DAMS. Fascinated by the artificial lights that illuminate the night in urban centers, he used them for his first works with which he introduced himself to Luigi Ghirri who in 1984 included him, the youngest among the participants, in the great project “Viaggio in Italia.” In the 1990s he travels to the East and particularly to China, developing a different style: landscapes and architecture are made with aerial shots and a selective focus that highlights only certain levels. He establishes himself internationally with exhibitions - from the Venice Biennale to the New York Triennial - catalogs and videos.
The two images presented here are particularly significant examples of two distinct yet complementary ways of observing reality that characterise the vision of one of the most intriguing photographers to have shaped the contemporary interpretation of the landscape – particularly the urban landscape – decisively moving away from predictability in favour of a seductive theatricality. He achieves this, as in the photograph taken in Rome, through a frontal composition of absolute rigour where symmetry becomes balance, emphasised by the delicate colour palette chosen to evoke the city’s atmosphere. In stark contrast, precisely to highlight the intense dynamism running through the spectacular urban transformation currently taking place there, is the photograph taken in Shanghai, featuring a bold shot that invites the eye to lose itself amongst the building’s structures.
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