The collection of the images has been devised round a particular theme: that of shadows, a recurring motif in Guidi’s follow, which underlines his ongoing investigation into area and gentle.
Guido Guidi (Cesena, 1941) is an internationally acclaimed photographer, famend for the contribution he has made to the sector of pictures because the Nineteen Sixties and celebrated for his private method of wanting on the panorama, structure, and issues, which is without delay lyrical and analytical. His pictures are a distilled reflection on essentially the most quotidian, marginal, and anti-monumental areas that we inhabit, a tactile exploration of the types that encompass us and which we regularly neglect, rendered as if frozen in time. Over the many years Guidi has consolidated his personal “poetics of consideration,” which by no means takes without any consideration the very act of seeing and certainly delves into its existential, formal, and theoretical implications. Because of the consistency with which he has all the time scrutinized essentially the most liminal points of actuality, Guidi has additionally influenced generations of photographers, creating a visible idiom that’s as refined because it has been seminal.
Curated by Alessandro Rabottini, “Da un’altra parte” compiles greater than 70 images taken between the early Nineteen Seventies and 2023, in an exhibition that evokes the persistence and recurrence of sure themes throughout the many years. Though Guidi conceives, publishes, and reveals his work via the format of the photographic collection, on this exhibition the collection of works concentrates on single pictures, extrapolated from the collection to which they belong and positioned in dialogue with one another, over and above the chronological and thematic constructions, in response to a precept of poetic and formal pressure.
What unites these footage is the presence of a shadow or a mirrored image of sunshine, the sudden passing of a flash or the mobility of darkness. As a part of a story that charts completely different phases of Guidi’s photographic output, the present traces plenty of constants inside them: the fabric investigation into the transience of time; the paradox of a picture that comprises subsequent to nothing; the aesthetic manifestation of the void; and the thought of pictures as an artform intimately linked to the looks and disappearance of issues. On this sense, orbiting across the machine of the shadow we discover a few of the major themes addressed in Guidi’s work: the connection between area and light-weight, between the solidity of structure and the fleeting nature of the moment, between city area and particular person notion, between materials traces and reminiscence.
Beginning from a meticulous, each day follow that analyzes the very constructions of the photographic medium, Guidi conveys the palpable presence of the most earthly of issues: the sensory depth of a crumbling wall, of a highway floor, or of a stretch of sand.
In distinction, the few human figures within the exhibition are captured nearly as elusive presences: their faces partially hid or rising from the half-light, their options illuminated solely partly, as if to symbolize human existence as each a rhythmic emersion from area and an immersion in time.
Guidi’s pictures will be interpreted as a part of a trajectory of silence operating via Italian visible tradition from Piero della Francesca to Michelangelo Antonioni, by way of Giorgio Morandi and Luigi Ghirri. As icons of the unstated (or of the quietly spoken), again and again the exhibition consists of empty billboards, denuded partitions that file the moments of a photo voltaic eclipse (as within the sequence of six images entitled Ronta 11/08/1999), and home windows that open onto horizons nearly shorn of spatial reference factors. There are additionally still-lifes, on the verge of abstraction, which painting fragments of his house-cum-studio in Ronta and during which Guidi succeeds in immortalizing one thing that appears near the act of pictures itself.
Usually, his personal shadow seems inside the works, thus manifesting the presence of Guidi’s lens and his personal place because the photographer, intent on verifying the fabric circumstances of the creation of a picture.
Guidi reveals his personal religion within the important by working systematically inside the photographic medium and thru a perspective and a follow which are each extraordinarily rigorous. His will not be solely a visible rigor but additionally a profound understanding of pictures as each a language and a set of instruments, and it’s this data that allows him to ponder the lyricism of the on a regular basis along with an experimental perspective that’s at occasions harsher and extra uncooked. Via an economic system of expressive instruments and visible manifestations, Guido Guidi suggests an moral method of current on the planet and within the current as an act of parsimony, consciousness, and duty.
Curated by:
Alessandro Rabottini
at 10 Corso Como, Milan
till September 10, 2025
