{"id":2728,"date":"2019-04-27T14:35:11","date_gmt":"2019-04-27T14:35:11","guid":{"rendered":"https:\/\/www.archiviomariogiacomelli.it\/?page_id=2728"},"modified":"2020-12-19T13:50:27","modified_gmt":"2020-12-19T13:50:27","slug":"bando-2","status":"publish","type":"page","link":"https:\/\/www.archiviomariogiacomelli.it\/en\/bando-2\/","title":{"rendered":"Call"},"content":{"rendered":"

Images<\/a><\/p>\n

The series Bando (Call) <\/em>was composed between 1997-1999 with photographs from 1995-1998.<\/p>\n

Giacomelli conceptualised this series as groups of four photographs, arranged so that the space separating them forms the shape of the cross, a symbol of rebirth: life and death meet across this boundary, which ultimately defines the human condition, much like the hedge delineated infinity<\/strong> for Leopardi.<\/p>\n

This series was inspired by Sergio Corazzini\u2019s poem<\/strong>, Bando (Call). <\/em>The dynamic figures in these photographs are imposing and indecipherable, unruly and unyielding. They are like unutterable, banished words, which together build an inconceivable reality.<\/p>\n

Giacomelli\u2019s construction of each scene was a lengthy process, involving hours of continual and minute adjustments to the materials (objects found in situ, remnants from industrial sites) arranged within the space of the photograph.<\/p>\n

Giacomelli moved about the space in a ritualistic manner, mapping out his interiority and setting it in motion with reality. This extended moment is tense: Giacomelli held his breath until he pressed the shutter and the flash flooded the scene with bright white light, distilling reality down to its most essential form.<\/p>\n

Giacomelli read Corazzini when he was younger, but it is not until his latter years that he used Bando<\/em><\/strong> as inspiration for a series of photographs.<\/p>\n

\"\"<\/p>","protected":false},"excerpt":{"rendered":"

Images The series Bando (Call) was composed between 1997-1999 with photographs from 1995-1998. 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