Via Carlo Farini 6, 20154 Milano ITALY email@example.com www.spaziofarini6.com
Catalog of the fair here: https://www.sfogliami.it/fl/211097/5muhh6zz3z9p1g2pe47sgp1huycm6pk
galleria SPAZIOFARINI6 fine art photography
Founded in 2008 by Giovanna Lalatta, SPAZIOFARINI6 is a contemporary art gallery dedicated entirely to limited edition author photography. It offers a curated and exclusive selection of works of art for sale, together with a complete range of services for customers who wish to enrich their research in the world of photography. In fact, in addition to the classic exhibition, promotion and sale of photographic works of art, the gallery also offers a wide range of programs aimed at widening the dialogue on the role of photography in our society, including conferences, workshops, meetings with the author, book presentation, and also promotes artistic education for children and adolescents, building visual literacy with the aim of involving several new audiences. SPAZIOFARINI6 is a large exhibition space in the center of Milan, but also exhibits its artists all over the world by participating in fairs and international exchanges with other galleries.
The photographer Antonella Sacconi’s "Homo Faber" project, runs through an observation path of structures and details in contemporary architectures spread throughout the world. Her classical education allows her to find the "Ancient" in the "New" that feeds on those classical principles and internalizes them even where it seems to break every pattern and appear disharmonic. The author uses black and white because she wants the eye to focus on the lines and the structures rather than on the colour. She strips his buildings leaving only “naked shapes” (nude forme). The use of a human figure within her compositions, never in the foreground, sometimes reduced to a silhouette but perfectly inserted in the work, represents Man as the Homo Faber, at the same time architect and user of what he creates. These "Nude Forme" with their outlined appearance, look back at the Ancient which is always alive and become a red thread that guides and help us remind our roots and who we are.
Pier Paolo Fassetta
Everything goes back to its origins. Lost the traces of ancient civilizations, are the remains of architecture without history, built with photographic images recomposed to represent the vitality of nature, shaped by man, for inhabitants of mysterious places. Immersed in the density of a wild nature devoid of any trace of human life, they mark new presences in the contemplation of their decay. The few visible remains, returned by the photographic document, torn and reassembled, dry up over time, evoking for the remaining parts, the effort of living in a harsh confrontation between man and nature. The lack of a real archeology makes these inexplicable artifacts buried in the disturbing myth, where everything has the flavor of returning to a time where shrines were erected to benevolent gods. Photography helps us to go back to the origins by becoming a constructive form, losing its intrinsic communicative function to become part of a system of aggregation of primordial utility.
The echo of the architecture of the past that cyclically returns to mind and sight, is the subject of the work proposed here. Instead of the patina of the antique, a new film will highlight the already known connotations, highlighting the rigidity of the forms, the repetition of the elements but with a more current and engaging emotional filter, almost as if they were dream architecture. In fact, Dreams says the sign that rises over the photo of cinema-theater of Tresigallo. The artist projects us into her own world by superimposing the solid textures and the suggestions of color and graphics, leading to a reinterpretation of the architecture of the past.
St Francis’s Wood is a series of photographs taken from 2010 to 2012 at a holy place that has always aroused devotion, located near Assisi, where St Francis and his brethren isolated themselves in prayer in a forest of holm oaks. St Francis’s Wood is not only a spiritual journey seeking to explore the natural world, it is also the manifestation of the spoliation of the aesthetic gaze. In her photographs, Stoppani progressively goes beyond the most mimetic aspects of the woods in order to isolate the vision, create transparencies, bundle things together, dissolve light effects, find aesthetic forms, draw mandalic figures and represent the present structures of the trees in a continuous dialogue between interior and exterior. The woods extend both upwards and downwards, vanishing into their complex inner life and obliging spectators to concentrate on contemplation.