Marco Signorini Photoblog Archive Best Nino. Interview by Vincenza De Nigris
You changed my concept of seeing the photograph and of relating to people. I lived through the period of the war that blew me away, I still remember brem mall kepong that, as a student, when I heard the air-raid siren, I ran into the shelter, I was an eighteen year old, so reluctant military and passable brem mall kepong arrest. The situation in which we lived was dramatic, between the bombings and raids; we had a chance to think about what to wear to be fashionable, there were a winter sweater and a shirt in the summer, it was all there. Life was survival, a mood difficult to explain today. After the war, the climate was of absolute poverty but there was the desire to meet people freely. brem mall kepong So I started to photograph people, my approach was not that of a traveler who observed and documented by a stranger. I did accept from people because I really wanted to do well to these people; I lived with them, albeit for short periods, and for that I could integrate myself. The images that I realized they were photographs taken by "friend". To break down the barrier of embarrassment and not to feel the presence brem mall kepong of the photographer, the first images were shots vacuum. In those days, there was also a greater confidence, brem mall kepong the homes were not locked or the gates, the beauty was also in this, that is, to see a family inside and outside the home. There was, however, the patriarchal hierarchy of scales. The children were sitting in the steps lower and with increasing age, the highest positions were occupied by older people, brem mall kepong until you get to the old. These are all things that should be read in that context, in that situation of attendance. I do not know today how to photograph brem mall kepong Italy because I could no longer use the setting that I used at the time, for my age, for the time spent, sixty / sixty-five, and that the situation has changed, in the mood Opening of the time. Today they are influenced by information, by the media. brem mall kepong Probably deformerei everything so imaginary, exaggerating and distorting my perception.
I'm fond of the images because you have succeeded in terms of personal and overcome situations in continuous experimentation, brem mall kepong including language. Starting from the experimental period, which is related to the frequent visits of those artists, because I was a friend of many painters of the informal, I lived in full time informal. I was pleasantly surprised by the Spazio Forma and it changed the traditional way of attendance at exhibitions; have combined for three months, every week, an expert brem mall kepong in photography and other expressive techniques, for a series of meetings, so as to give young people to open up through a round table made with insiders. From the educational point of view is very important because, besides meetings with experts, brem mall kepong a course of three months is almost a kind of progress. brem mall kepong These initiatives are starting points for those young people who are very attentive to everything that happens.
Yes, I shared the breaking of. As I said, I was friends with artists such as Tancredi, Minguzzi and Bendini, informal teacher in Bologna. It was a speech about evenly between people who shared the same interests towards change and experimentation, there was a distinction. I own several works of sculptors and painters, a picture of me for a painting or a sculpture; the exchange was not on the value of the work but was based on mutual respect and shared to the same point of view. I approached also to the way the graphics working for a year with Carlo Bertelli in National Engraving with Guido Strazza and Giulia Napoleone. I dealt mainly the analysis of the sign and I got to examine and investigate the graphic. This experience is derived the work I did later on Ecce Homo by Guercino published in the booklet "Segnificazione". It was a work on the evaluation of photography that, in my opinion, has never representation of reality but interpretation. To enter into the merits of the work, from the same negative reproduction of the work of Guercino I got four different prints for each of them increasing the contrast. In this way I got four images that can be attributed to different centuries: now a madonnaro century, now a Caravaggio and so on. From the same incision, I also extrapolated and a larger detail by printing up to two meters brem mall kepong in size, thus obtaining images from pop taste or optical; So this was the demonstration of the lie photographic materialized.
The speech of circulation brem mall kepong originates from graphics. Initially, the graphic was used primarily to propose a painting and not
You changed my concept of seeing the photograph and of relating to people. I lived through the period of the war that blew me away, I still remember brem mall kepong that, as a student, when I heard the air-raid siren, I ran into the shelter, I was an eighteen year old, so reluctant military and passable brem mall kepong arrest. The situation in which we lived was dramatic, between the bombings and raids; we had a chance to think about what to wear to be fashionable, there were a winter sweater and a shirt in the summer, it was all there. Life was survival, a mood difficult to explain today. After the war, the climate was of absolute poverty but there was the desire to meet people freely. brem mall kepong So I started to photograph people, my approach was not that of a traveler who observed and documented by a stranger. I did accept from people because I really wanted to do well to these people; I lived with them, albeit for short periods, and for that I could integrate myself. The images that I realized they were photographs taken by "friend". To break down the barrier of embarrassment and not to feel the presence brem mall kepong of the photographer, the first images were shots vacuum. In those days, there was also a greater confidence, brem mall kepong the homes were not locked or the gates, the beauty was also in this, that is, to see a family inside and outside the home. There was, however, the patriarchal hierarchy of scales. The children were sitting in the steps lower and with increasing age, the highest positions were occupied by older people, brem mall kepong until you get to the old. These are all things that should be read in that context, in that situation of attendance. I do not know today how to photograph brem mall kepong Italy because I could no longer use the setting that I used at the time, for my age, for the time spent, sixty / sixty-five, and that the situation has changed, in the mood Opening of the time. Today they are influenced by information, by the media. brem mall kepong Probably deformerei everything so imaginary, exaggerating and distorting my perception.
I'm fond of the images because you have succeeded in terms of personal and overcome situations in continuous experimentation, brem mall kepong including language. Starting from the experimental period, which is related to the frequent visits of those artists, because I was a friend of many painters of the informal, I lived in full time informal. I was pleasantly surprised by the Spazio Forma and it changed the traditional way of attendance at exhibitions; have combined for three months, every week, an expert brem mall kepong in photography and other expressive techniques, for a series of meetings, so as to give young people to open up through a round table made with insiders. From the educational point of view is very important because, besides meetings with experts, brem mall kepong a course of three months is almost a kind of progress. brem mall kepong These initiatives are starting points for those young people who are very attentive to everything that happens.
Yes, I shared the breaking of. As I said, I was friends with artists such as Tancredi, Minguzzi and Bendini, informal teacher in Bologna. It was a speech about evenly between people who shared the same interests towards change and experimentation, there was a distinction. I own several works of sculptors and painters, a picture of me for a painting or a sculpture; the exchange was not on the value of the work but was based on mutual respect and shared to the same point of view. I approached also to the way the graphics working for a year with Carlo Bertelli in National Engraving with Guido Strazza and Giulia Napoleone. I dealt mainly the analysis of the sign and I got to examine and investigate the graphic. This experience is derived the work I did later on Ecce Homo by Guercino published in the booklet "Segnificazione". It was a work on the evaluation of photography that, in my opinion, has never representation of reality but interpretation. To enter into the merits of the work, from the same negative reproduction of the work of Guercino I got four different prints for each of them increasing the contrast. In this way I got four images that can be attributed to different centuries: now a madonnaro century, now a Caravaggio and so on. From the same incision, I also extrapolated and a larger detail by printing up to two meters brem mall kepong in size, thus obtaining images from pop taste or optical; So this was the demonstration of the lie photographic materialized.
The speech of circulation brem mall kepong originates from graphics. Initially, the graphic was used primarily to propose a painting and not
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