XI-VI-MMXXIV

“The story is not in the image, but in our relationship with the image, in what it deposits within us.”

From this consideration, Bertrand Schefer writes the book “Francesca Woodman,” a short narrative that talks about her, seeks her out, reconstructs her, and aims to save her from oblivion, not so much as an artist, now consecrated, but as a human being. Woodman is a star that leaves a powerful luminous trail, entering the empyrean of art with frightening speed and, in that same fear, leaves the earth of her own will at twenty-three years old. The author, at times moving, at times capable of surprising, leaves us with questions and reflections on the power of photographic images and some unknown elements about her. We are (very) interested because it emphasizes how the gaze that touches the surface of an image can satisfy the pleasure of a moment and at the same time push us to search for depth. Especially when we are faced with a work of art. It is a possibility, not an obligation, and we believe it is worth it.

Bertrand Schefer, Francesca Woodman, Johan & Levi Editore, 2024.

X-VI-MMXXIV

Once again, Giovanni Covini took us into his cinematic world and offered us his unique perspective on interpreting images.
One of the participants commented: “Technical but accessible, intense but not tedious. Time flies between viewing the images, the technical explanation, and the simultaneous reflections induced by one’s personal experiences.”
Paolo Umbriano

The next appointment is on Saturday, June 22, from 10:30 AM to 12:30 PM. For more information and registration, contact: press@studiogariboldi.com

VII-VI-MMXXIV

A small and interesting book on Antoni Tàpies, authored by Massimo Recalcati, has just been released by Marsilio. Those of us who frequent his works in galleries have read it and found an original psychoanalytic perspective on the work of the Catalan master. Many reflections start from the works but arrive directly to us and our lives, such as the one on the cross, a symbol used by the artist in his works, “which oscillates towards the X of the enigma or the X of the unknown,” an X that “arises from the erasure of the Self.” Or the approach to the poetics of the wall. Paintings that transform into walls and the colors gray, black, and ocher, a renunciation of the shortcuts of color and form.

We are interested in it because it reflects on the artist’s creative process and the metaphorical power of his expressive choices. Recalcati writes: “encountering the reality of one’s own wall does not mean falling into a hopeless silence, but making this silence the material for a previously unthinkable poetics.”

Massimo Recalcati, Il silenzio della materia. La poetica del Muro di Antoni Tàpies, Marsilio, 2024.