#AI mag ADDENDUM Summer Edition, 2015
Aperitivo Illustrato n.70 Supplement
Above and Beyond
Special Edition Venice 2015 #0
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All images: artworks of Musei Civici di Palazzo Mosca - Pesaro / Photo Comune di Pesaro, Fabio Cecchi
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Today’s rich and powerful collectors are unfortunately not as tasteful as the Medicis. AI mag ADDENDUM Above & Beyond Summer Edition Venice 2015 No. 0 Circulation: only with AI magazine Advertising department: Bildung Inc. Exclusive Company for.
GRETA EDIZIONI Fine Art Publishing & Services. t +39 0721.403988 f +39 0721.1792507 via degli Abeti 104 61122 | Pesaro | Italy gretaedizioni.com Special thanks to: Marco Vidal | MAVIVE Andrea Tinterri | curator Anna Sutor | illustrator Noema Gallery Printed in Italy, May 2015 Graffietti Stampati All rights reserved. No part of this publication may be reproduced in whole or part without written permission from the publisher. The publisher declares its willingness to settle fees that may be owed for texts and images whose sources could not be traced ordentified.
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Giovanni Marinelli “A picture is a secret about a secret, the more it tells you the less you know.” ― Diane Arbus
Above & beyond “To photograph is to hold one’s breath, when all faculties converge to capture fleeting reality. It’s at that precise moment that mastering an image becomes a great physical and intellectual joy.” ― Henri Cartier-Bresson, The Mind’s Eye: Writings on Photography and Photographers
The decision to publish an insert in which the only presence, save a brief editorial, is photography in absolute linguistic autonomy, or rather without the addition of any text that may recount, contextualise, criticise, or transform is, I believe, a very precise editorial choice. Photography left alone, without anyone to hold its hand, to help it across the road, without a narrative voice which reminds it of it its home address. I don’t believe there is much trust in photography. I personally don’t have much, but at times I trust those who look at photography. If anything, I trust in the need for mankind to resolve problems, to create ever new ones against which to bash their heads, create traumas, and come out regenerated. Because a photograph that is naked, solitary, dare I say mute, is a problem, an enigma to be resolved, something to break into. It is like being hungry and having in our hands a closed tin of something edible. No label, no indication of the best before date, but only the knowledge that it is food which can satisfy our hunger. We are afraid, we shake the tin to understand the consistency of the contents, we smell it, but no odour or perfume escapes from within. We weigh it in our hands; we leave it for a few minutes in the sun to see what happens. We have no tin opener, that would be too easy and the game would have no sense. We bite it to see if the metal can be perforated, but nothing, it remains intact and stoic. We are faced with a wall: we look at the tin, we pass it from hand to hand, we begin to gain confidence, we wait a moment, check that no-one is watching us, and then we hurl it against the wall hoping for a breach, hoping for an odour, in a flavour. We approach the tin, a trickle flows on the ground, a trickle of red which is not blood, but something to lick, to taste by dipping a finger in. We pick the tin up again, there is a scent, there is
a flavour: we don’t know how long it has been in the tin, but we begin to suck, we eat because we have to and we do it at our own risk and danger. Simple tinned tomatoes or baked beans, tripe or preserved peppers, dried meat or pickled mushrooms. We may not be able to stand the taste of the contents, we could be allergic, or love it and look for other unmarked, unlabeled tins, look for another wall and free that which lies inside with heavy kicks and flings against willing walls. I don’t believe much in photography but I do believe in those who want to look at photography and I believe in the effort of the gaze and the effort of thought. I believe in the printed page, in the fetish for paper, in the publishing industry attentive to the needs of the photographer, attentive in placing the spectator in difficulty and in creating problems, traumas: transitions. Four photographers (Alessandro Rizzi, Giovanni Marinelli, Andrea Morucchio, Alberto Andreis) for this experiment: a first issue inaugurated at Palazzo Mocenigo, during the Venice all-nighter on the occasion of the 56th Art Biennial. Like all cities, dare I say which are too touristic, Venice is also almost impossible to see, to discover, to re-read. A city of postcards, plastic gondolas and masks which are also good for the fifteenth of August. Venice is a problem: it is difficult to go beyond, open the tin and feed on that which is inside, whether it is water or gold. So let’s pin our hopes on the long life of paper, in slow observation, let’s hope that you can take these pages in your hands and come across them again after a few years or centuries, under other papers, under other doubts, other odours, other images. Let’s pin our hopes on the opening of the tin, or simply in the attempt. Let’s fling it against the wall, put our strength into it, throw it high and let it fall in the hope that something to taste comes out. Never mind if it’s good or bad, let’s eat first and then we’ll see. by Andrea Tinterri
Alessandro Rizzi “The camera is an instrument that teaches people how to see without a camera.” ― Dorothea Lange
Andrea Morucchio “A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed.” ― Ansel Adams
Alberto Andreis “Travelling is a door through which one leaves reality to penetrate into an unexplored reality, which seems like a dream.” ― Guy de Maupassant