cover

GIOCHI DELLA MENTE, INEDITI 2003/2009

Mario Cresci

One original signed photograph
11 unpublished photographs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

In this selection of more recent images, Giochi della mente, inediti 2003/09, Mario Cresci again highlights his relentless research in photographic language and representation techniques. The brief sequence exclusively put together for this editorial collection alludes to the artist’s former experiences in the Italian avant-garde of the ’60s and ’70s. A scene well-known to Cresci, who plays ironically with themes that have always been dear to him: time, space, memory, the measure of things, the artist himself. The result is an original and personal book, light and rigorous at the same time, a precious and meaningful excerpt of his experimental poetics.

AUTHOR

author

A photographer and visual designer, MARIO CRESCI was born in Chiavari, on the coast of Liguria, in 1942 and completed his studies with the advanced course of industrial design at the IUAV (Istituto Universitario di Architettura di Venezia) in Venice.
In the 1960s he broke new ground in the field of experimental photography, combining an artistic approach with graphic design and taking a particular interest in the use of visual languages for the analysis and interchange of the various forms of expression. From 1967 to 1969 he experienced the political tensions characteristic of the time, firstly in Milan and then in Rome, where he collaborated with such artists as Pino Pascali, Eliseo Mattiacci and Jannis Kounellis, and with Fabio Segantini’s Galleria L’Attico.
At the end of the 1960s, Cresci was living in Paris and Milan, where his interest in both art and politics led him to create one of the first photographic installations in Europe at the Galleria Il Diaframma. In 1974 he participated in the exhibition ‘Campo Dieci’ curated by Luciano Inga-Pin, also at the Galleria Il Diaframma.
In the 1970s he moved to Matera, in the region of Basilicata, and, until the end of the 1980s, undertook an artistic investigation of visual communication, using photography as a means of focusing public attention on the problems of southern Italy. From 1974 onwards he participated in a number of editions of the Venice Biennale, including the exhibition ‘Muri di Carta’ (at the 1993 Venice Biennale), curated by Carlo Arturo Quintavalle, and in major photographic exhibitions in Italy and abroad. A number of his photographs have been acquired for the permanent collection of the Museum of Modern Art, New York.
In 1995 a large exhibition devoted to his work, curated by Roberto Mutti, was held at the Galleria del Credito Valtellinese, at the Palazzo delle Stelline in Milan. Since then he has had various exhibitions and created permanent and temporary installations in galleries, museums and other public spaces in Japan, Spain, France, Italy and the United States. A retrospective exhibition entitled ‘Le case della fotografia: Mario Cresci 1966–2003’, curated by Pier Giovanni Castagnoli, was held in 2004 at the Galleria d’Arte Moderna, Turin.
From 1992 to 2000 he was director of the Accadamia Carrara di Belle Arti in Bergamo; from 1996 to 1999 he was artistic director of “Savignano Immagine”, an event devoted to contemporary photography. From 1998 to 2002 he contributed to the Sunday supplement of the business newspaper “Il Sole 24 Ore”, published in Milan.
Since 2004 he teaches “Theory and Methodology of Photography” at the biannual master class in photography at the Academy of Fine Arts of Brera in Milan.