Journal

TOSCANI CHEZ MAZZOLENI

After Palazzo Reale in Milan and Palazzo Albergati in Bologna, Mazzoleni Torino is pleased to host the third and final stage of the series of exhibitions celebrating Oliviero Toscani’s 80th birthday.
TOSCANI CHEZ MAZZOLENI  brings together a wide selection of photographs curated by the artist, from his most iconic and well-known images to the unpublished corpus of photographs of the Grande Cretto di Burri di Gibellina, presented for the first time with the innovative technique of printing on concrete.
The exhibition opens on the ground floor of the gallery with an anthology of over one hundred images that retrace the creative power of Oliviero Toscani embracing his entire career. Going upstairs to the main floor, the exhibition presents a more rarefied selection, a series of photographs printed with a particular technique on large concrete slabs for the first time, a technique which gives the images body and three-dimensionality. Iconic works by an artist who used visionary skills, provocation and transgression to counter racism, inequality, and abuse. These include the famous Jesus Jeans poster ‘Who loves me follow me’, as well as ‘Kiss between priest and nun’ from 1992 and the ‘Three Hearts White / Black / Yellow’ from 1996.
A dedicated section of the show will focus on the series on the Cretto of Gibellina, photographed by Toscani for the “Louis Vuitton Fashion Eye” project, a collection of photo albums created by the Maison with ten of the most famous photographers in the world. Each of them was invited to take pictures of a city of their choice for a series dedicated to travel. Toscani, with great surprise, chose Gibellina, the Sicilian town destroyed by the Belice earthquake in 1968 and where Alberto Burri poured hundreds and hundreds of tons of cement on the rubble of the city in 1981, creating one of the most important works of European Land Art.
These shots have been printed on monumental concrete slabs and interact with some Cretti by Alberto Burri from Mazzoleni’s collection.
Finally, two large-scale wallpapers accompany visitors on a condensed journey across the ten-year project Razza Umana, with which Oliviero Toscani has crossed hundreds of squares around the world to take pictures of people in their daily lives, creating the largest existing photographic archive of morphological differences of humanity, with over 10,000 portraits, some of which taken during the last edition of the Kappa Future Festival in Turin.

2 November 2022 – 14 January 2023
Opening 2 November 2022
6 pm – 10 pm

Source: Mazzoleni Art

Journal

“THE GERMANS OF THE 21st CENTURY” – THE NEW EXHIBITION OF OLIVIERO TOSCANI IN BERLIN

Women, men, blondes, browns, from all walks of life, professionals and workers from diverse sectors and global citizens: All of them are contemporary Germans. There’s a piece of Toscani in the new “wall” that is going to be inaugurated in Berlin on April 25: Large totem poles built as concrete benches, as new street furniture of Potsdamer Platz chosen to host the exhibition. A true photographic reportage dedicated to the Germans of the twenty-first century, produced by Giannoni and Santoni and firmed by Oliviero Toscani, an authentic Milanese who has chosen to live in Casale Marittimo since 1970: imagination and creativity met to tell the end of the Aryan race replaced by the new Germans, which is a colourful mix of races and cultures. A hundred modern-day German faces, from the very blond young guy with blue eyes to the girl with afro hair, were photographed by Toscani’s eclectic lens and then “transferred” onto massive concrete panels using the digital fresco process. Racial equality is a matter close to his heart, so much so that he has proposed it on the advertising boards and the advertising pages of glossy publications in the past.

“This piece, which I imagined before the epidemic, holds a special place in my heart. I looked for new faces of contemporary Germans to show how prejudices may be transcended, says Oliviero Toscani. I’ve never understood why people blame Germans for the mistakes of their forefathers. When I was travelling, I noticed that whenever the word “Germans” is mentioned, someone’s nose wrinkles. However, today’s Germans are not those of the past; they are the most advanced European people, with a rich culture and a long history. As a result, I photographed a wide range of people, from Germans with black skin to blondes one.”

A prestigious job for Giannoni and Santoni who with great passion and professionalism has become a point of reference for the world of art, giving life to the artists’ intuitions by providing materials and tools to tell their way of seeing the world.

“Oliviero Toscani – says Antonio Giannoni – has photographed hundreds of Germans. The shots were selected and reproduced by our artisans with the digital fresco technique on a plaster base. The result will have a strong effect. A story that brings together many forms of art “.

Journal

THE ANTI-AIRCRAFT TUNNEL REBORN AS A WORK OF ART, FROM THE FORNACE REFUGE TO A DIGITAL REFUGE.

Laura Andreini’s, Giovanni Polazzi’s and Marco Casamonts Archea Associati studio turned an old drainage channel, which served as an air-raid shelter during WWII, into a place dedicated to exhibitions, events, and performances in the fields of digital art, architecture, photography, and literature.
The museum was officially opened on April 13, 2022, as reported by Corriere Fiorentino, in conjunction with Forma Edizioni and Tornabuoni Arte, with the site-specific work Oro by Fabrizio Plessi, one of Italy’s first video artists. To animate the 16 screens positioned throughout the tunnel coated in iridescent majolica and a blue carpet “A vast gold mosaic that breathes in its underground liquidity as it melts,” adds Plessi. The Digital Refuge is nothing more than a cutting-edge cultural crossroads that, in a city like Florence, finds the impetus to face and overlap the existing. I wanted to turn the water that I imagined flowing in this place a long time ago into gold as a good omen and as a human desire for an improvement in the existential condition, a living need, and very much felt even in our period.”

“A space where you may enter and move but also learn about and experience digital,” says architect Marco Casamonti. We want to assume that a site that was formerly thought to be a safe haven from physical aggression, such as an air-raid shelter, may be reincarnated as a space of freedom and expression, in a place of art.”

Ph credits: Pietro Savorelli & Associati, Source: Icon Magazine