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BORD DE MER, INEDITI 1984/1985

Gabriele Basilico

One original signed photograph
12 unpublished photographs
limited edition of 300 copies
23.5 x 16.5 cm / 9.3 x 6.5 inch

Euro 150

IN STOCK

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DESCRIPTION

The project Bord de mer, carried out for the Mission Photographique de la Datar in the years 1984/85, belongs to the most significant works of Gabriele Basilico’s photographical research. The unpublished images selected for the present editorial collection confirm the latter’s importance with regard to beauty (the term is used with no hesitation) and contemporaneousness. These pictures highlight the author’s contemplative look, where the boundary line between the seashore and more anthropized inland landscapes also coincide with the horizon and the infinite. With no sentimentality, Gabriele Basilico puts together a precious sequence of emotional images of the “France du nord”, balanced between direct vision and representation of reality.

AUTHOR

author

GABRIELE BASILICO is one of the best-known Italian photographers and, over the years, he has worked in various cities: Milan, Beirut, Bolzano, and Berlin among others. Amongst other things he was the first and only Italian to take part in the prestigious French photographic mission Datar, in 1984.

The shows and books by Gabriele Basilico are always an important meditation on landscape photography. His interest goes far beyond mere documentary photography and is, in fact, a necessary reference point for those occupied today with photography and town planning.

In a recent interview Basilico has said, “Obviously I take photographs with regard both to the principle and to the aesthetic experience of ‘vision’. In this sense I am wholly a photographer. But it is also true that photography, and not just as a language, has been part of the world of art for some time for which it has full credentials. I am, though, convinced that it is over-simplifying to say that photography is fully a part of the great sea of art research: it is one thing to use photography as a language in order to communicate a work conceived in another way (an installation, for example) but it is something different to interpret reality by considering it ‘photographically’”.