Percorso il sentiero nel bosco, OCA vi accoglie in quella che sino a poco tempo fa era un’immensa stalla per le mucche oggi riconvertita in spazio espositivo, con la mostra fotografica di Massimo Vitali intitolata “La Grande Oasi. The way we live, now”, a cura di Giovanna Calvenzi. Il progetto realizzato per Oasy Contemporary Art ha come protagonisti gli uomini ed il territorio, in un dialogo nel quale la presenza umana è misura stessa del paesaggio.
MOSTRA
dal 5/08/2023 al 5/11/2023
MASSIMO VITALI
Massimo Vitali's photo exhibition
La Grande Oasi. The way we live, now.
Sixteen large works to narrate almost thirty years of photographic research on the territory: in his unmistakable ‘documentary style’, through an ‘objective’ and never intrusive gaze, Massimo Vitali makes his first photos of beaches from the 1990s dialogue with those made today in Oasy Contemporary Art, especially for this exhibition event curated by Giovanna Calvenzi. For this new work, Vitali has renounced his technique of choice, namely shooting from the top of a five-meter tripod, to instead respect a “fair distance” that allows him to witness the dialogue between man and nature. In the spaces of the barn converted into an exhibition gallery immersed in nature, his investigation made of contemplation and waiting finds its place, alternating images of summer crowds of bathers with the silences of the Tuscan spring, interspersed with shots of a famous Parisian picnic and a moment of leisure on the Lima stream. A unique way of bearing witness, beyond the physical place, to the relationship between man and nature, whether immersed in the sea or embraced by mountains.
The artist's biography
Massimo Vitali
Massimo Vitali was born in Como in 1944 and studied photography at the London College of Printing. He began working as a photojournalist in the late 1970s, collaborating with several magazines in Italy and Europe. In 1989 he gave up photography for a few years and worked as a director of photography for advertising and numerous television series. Since the 1990s he has developed a research on landscape photography dedicated to public places, the way Italians spend their vacations and mass entertainment, which he realizes with large-format cameras and from a 5-meter-high platform. What he calls “the prince’s point of view,” that is, a privileged view, from above, of the reality in front of his lens, becomes a kind of “signature” of his vision. He himself said, “Since my school days I have been interested in photography, and my interest has lasted over time, albeit with ups and downs. No longer very young, I began to realize that only by following strict concepts would I finally achieve what I had been searching for all my life. Fortunately, my early fifties coincided with photography becoming contemporary art.
Gallery
