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Through the course of the 1970s and 1980s, Luigi Ghirri pursued his extraordinary project, open-ended and mercurial, marked by empathy for the changing everyday spaces of his time. Over the course of his short career, Ghirri would produce a vast body of photographs without parallel in the Europe of his time and numerous writings which would have an indelible impact on the history of photography.00Exhibition: Museum Folkwang, Essen, Germany (04.05.-22.07.2018).
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From 1970 Luigi Ghirri roamed around the houses, streets, squares and suburbs in his adoptive town of Modena and built a body of early work which contains within it signposts to many of the directions his practice would subsequently take. Most of the time he worked in Modena, only occasionally travelling further afield to the beaches of Rimini on the Adriatic or the Swiss Lakes. He began to map out projects and themes ? some specifically grouped around a subject, others gathered around a more poetic organising principle. One of the latter was 'Colazione sull?Erba' ('Breakfast on the Grass') in which he bought together photographs made between 1972 and 1974 on the outskirts of Modena which he states he ?visited in an ironic and anxious manner?. His focus was the juncture of nature and artifice in the man-made environment; the symmetries of cypress trees, well-kept lawns, the personalising touch of plants in pots, palm trees and cacti with their promise of somewhere else. Modelled on 'Kodachrome', Ghirri's seminal paean to photography which he self-published in 1978, this volume is the first book in a planned series which will take Ghirris original categories for his own work as the basis for a collection elaborating the great photographer's oeuvre.
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In publishing a substantial core of vintage prints selected directly from the artist's archive and some modern prints prepared by Paola Ghirri, the intent is to focus on the specificity and value of Luigi Ghirri's first contributions as an artist who used photography. In the photographs of this early period it is possible, then, to discern the conceptual concerns that preoccupied Luigi Ghirri and which he came into contact with in his dealings with the circle of Modenese artists, but also the references to American Pop Art, from Wesselmann to Lichtenstein. As Ghirri himself commented: “I too am unable to say which I have found more enlightening, the musical and poetical landscapes of Dylan, the architectural sculptures of Oldenburg, the visions of Robert Frank or Friedlander and the ethical rigour of Evans, of Brueghel’s cosmogonies, Fellini’s fantasies, Alinari’s views, the silences of Atget, the precision of the Flemish painters, the purity of Piero della Francesca or the colours of Van Gogh.”
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"Published for the first time in English, The Complete Essays 1973-1991 comprises sixty-eight texts in which Ghirri explores the same subjects at the core of his photographs--the themes of identity, time, memory, vision, representation, and sense of place. As a voracious reader with a particular taste for the eclectic, Ghirri also reaches outwards from his own practice to explore the history of photography as he considers the work of Walker Evans, William Eggleston, Robert Adams and John Gossage, weaving in references to musicians, writers and painters alike. As themes and ideas overlap, the compilation of texts create a sort of dialectic chamber of curiosities that includes Gulliver, Van Gogh's yellow house, Cézanne, Morandi's studio, Mallarmé, the fireworks above Trani Cathedral, neo-realist films, lots of music, Francis Bacon, McLuhan's global village, Pessoa, poetry. Together, the essays offer an unintentional yet comprehensive treatise on the history and theory of photography, and above all, they constitute a special form of autobiography."
fotografie --- twintigste eeuw --- Italië --- fotografietheorie --- kunstenaarsgeschriften --- Ghirri Luigi --- landschapsfotografie --- 77.01 --- Ghirri, Luigi, --- Ghirri, Luigi, - 1943-1992
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Cette première rétrospective des photographies de Luigi Ghirri (1943-1992) hors de son Italie natale est centrée sur les années 1970. Elle retrace une décennie au cours de laquelle Ghirri a bâti un corpus d’images en couleur sans équivalent dans l’Europe de l’époque. Géomètre de formation, Luigi Ghirri commence à photographier durant le week-end au début des années 1970, arpentant les rues, places et faubourgs de Modène, échafaudant des projets et des thématiques. Il pose sur les signes du monde extérieur un regard attentionné et affectueux en observant, sans les commenter ouvertement, les modifications apportées par l’homme au paysage et à l’habitat de sa province d’origine, l’Émilie-Romagne, baromètre d’un vernaculaire local exposé à l’avènement de nouvelles formes d’habitat, de loisirs et de publicité.
Photographie --- Paysage (thème) --- Habitat --- Architecture --- Ghirri, Luigi
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