Curated by Mariano Cipollini

18 July – 6 September 2020

Palazzo Cardinal Cicada – Atri (TE)

Open everyday: 10.00 – 12.00 / 16.30 – 19.30 / 21.00 – 23.00

Closed on Monday Morning

 

Kensho exhibition is meant to be a cognitive, aesthetic and existential pathway through life moments that have become iconic slivers thanks to the language of Photography. It is a way to find again the time and shapes that structure the “sensitive memory” of the author in the Artwork. As one of the artistic languages, Photography becomes the hypostasis of the Artwork (the photographic object), as any other art technique. The practice of looking, its sharpening, gives back mysterious correspondences, instants of identification with the object; it lets us into very profound states of knowledge and consciousness. It allows us to take off all of our cultural prejudices so that we can see and understand things with simplicity. This work begins in the half of the ‘70s through the lens of a reflex, when the author codes his own language between Optics and photographic Chemistry, fascinated by the possibility of focusing an object, making it raise from the indistinct of the light, from its shapeless substance as a visual metaphor of the intuitive process of knowledge. “Seeing” as a comparison between reality and memory, time’s perception, space’s peculiarities and shape as presence are the themes that characterize the expressive research made by Paolo Dell’Elce. The past working years are recalled through forty-five silvery-salts original prints. The exhibit tries to highlight the perceiving of transit as a place belonging to mind and soul, but also the primordial strength of Nature and Beauty as part of the rational human identity, which is also mysterious, ineffable and doesn’t need explanations to be understood.

Paolo Dell’Elce

Photographer, theorist and professor of visual languages, Paolo Dell’Elce has been working in the artistic field since 1977. He has published books and has given theoretical contributes to the Aesthetic of Photography.

His works has been bought by international gallerists and collectors and preserved inside public museums and libraries such as the Biblioteque Nationale de France, the Cabinet des Estampes (“Selve”, 28 printings chosen by Jean-Claude Lemagny), the Kan Damy Museum of Contemporary Photography of Brescia, the Accademia Carrara of Bergamo (Donazione Lanfranco Colombo) and the National Center of Photography of Russian Federation. From 1997 to 2007 he has been the artistic director for the Museo Abruzzese della Fotografia “Giuseppe Moder” of Città Sant’Angelo (PE) and worked as professor of Language and Aesthetic of Photography for the National Center of Photography of Russian Federation – Rosphoto, San Pietroburgo.