EXHIBItions
ROME - DIOCLETIAN BATH
Terme di Diocleziano- Roma. Ottobre Dicembre 2014
Traveling as a journey towards the discovery of Oneself and of the Other. Every journey makes us come to face-to-face with ourselves and with others. It leads us into confronting one another, asking ourself questions, grasping who we truly are. Every journey is a path towards knowledge. Whether we are more or less aware of it, traveling leads us into observing, analyzing and scrutinizing those who stands before us and consequently (as if before a mirror ) ourselves. The three authors proposed this year travel along with their cameras to places that are familiar and those that are not: Pieter Hugo to his contradictory South Africa, Narelle Autio to her blue Australia and Alessandro Rizzi to a place far away from home namely Japan. And this journey of discovery ultimately and…
Text by ARIANNA RINALDO
Fotografia Europea - Incanto - 2010
Palazzo Calcagni - Reggio Emilia - Maggio 2010
Through the shots by Alessandro Rizzi, anyone can come to the realization that the images belong to everyone, even for a moment, for the duration of what has been perceived and flown away. Rizzi has chosen the camera as a privileged expressive instrument, building in recent years an abacus exterminated by specimens, fragments of human, social, environmental and natural landscapes, in which everything seems to come together in a great unitary project. The ambition of the universal story through the chemical fragmentation of reality. The chemistry that corrodes the negatives over time and for which the cure is the only possibility, the only chance.The error present in life itself is reproduced in the supports that enclose it in small frames, edges of the reality that the negatives contain…
Text by MASSIMILIANO SCUDERI
Fotografia Europea - Cambiare - 2013
Sinagoga - Reggio Emilia - Maggio 2013
According to Foucault, “history is that which transforms documents into monuments.” Alessandro Rizzi’s new series titled Theatre Translation exist within the fissure of document and monument. Teatro Sociale di Gualtieri, a small gem of a theatre that survived fire, water and neglect, then reinvigorated with grassroots efforts, is captured in Rizzi’s photographic series as memory-images. The story of the theatre depicted in Rizzi's photographs bear the imprint of time; images are mute and motionless only on the surface; the spatial setting, which is itself the protagonist, carries inertia, it is demarcated with change. Multiple registers of time co-exist in these frames; the once grandiose proscenium arch, the peeling paint of the decorated box seats, the bricked-up door with the ‘caffée’ sign suggest an aging