Davide Marino, STILL (ENG)

Davide Marino

STILL

IL SENTIMENTO DELLA BELLEZZA

All photographs were taken in the hinterland of Genoa and near Ottone, in different periods, from 2009 to 2015, since I have devoted myself to photographic research on still life for many years. (Which I called STILL) Š Davide Marino

Davide Marino

STILL

IL SENTIMENTO DELLA BELLEZZA

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Davide Marino, photography as an essential observation The things can recall, drag a thought into an imaginative condition, can revive the places in the memory.

Davide Marino's photographic look seeks the perfection, it's his aesthetic structure, what things inevitably bring in our view, like a scientist at the microscopy grasping infinitesimal planets of living organisms; but a residual, almost a fright, emerges on the film, and makes it particularly essential, things become not only exhibitive entities made of static essence.

The precision of the look carries out a far recall which lays perfectly on their compositional layer, on that material shell which makes them namable beyond every appearance; it's the absoluteness of the continuity, the contact of objects with reality and refraction of their colours, its metaphysical utopia.

Davide Marino's photography makes us feel that mnemonic rip which we kept secret: it comes returns in the photographic images, of a documentary substance by Luigi Ghirri in representing the Giorgio Morandi's study (the one in Fondazza street, in Bologna); still in the Ghirri's shots made in the Morandi's monastic room in Grizzana, of the High Appenin crest: the white bed floodby light, a photograph which becomes like a Domenico Gnoli painting, the bright morning which enters through the just opened windows toward an inevitable vision. During his summers, Morandi takes refuge in this elective place to discover the background of hills, which prevailed on with some tree to form a paint laid down on top under the light of nature.

Marino's photographic sequences tell us how significative a defeat can be from something which can happen on the peak of a trauma or a never completely expressed desire; they are like a lyrical anachronism, by evocative capacity, of passed situations, an observing of a repertory of images, which we thought our memory had strengthened/reinforced once and for all.

And if these pictures make us come back to intensified crossroad between reality and memory – here the nature reflected/showed in a little piece of landscape and other objects, recovered vestiges/remains, simulacrums

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willing to leave the room, the things themselves- it's like go on with/repeat an eternal continuous mantra with an inevitable link existing in the memory; and not the forgetfulness glimpsed among things, that existential rift can tell us much more than every poet situation defined by means of a constant trigger/ticking time, like violence.

But here there is an orderly silence, a place of colours and unconsciousness: this is the path to enter from the dark and reveal the door of divine indifference.

Andrea Gibellini

Andrea Gibellini (Sassuolo,1965) published three books of poems: Le ossa di Bering, Nce, 1993 (The bones of Bering), La felicità improvvisa, Jaca Book, 2001, Premio Montale, (The Sudden Happines, Montale' award), Le regole del viaggio, Effiege, 2016 (The rules of travel).

He edited an issue of the magazine Panta (Bompiani), the book of poem essays “L'elastico emotivo”, Incontri Editor (The Emotional Elastic) and the essay Ricercando Auden, L'Obliquo Editor (Looking for Auden).

His poems and essays were released on “Nuovi Argomenti” (New themes), La rivista dei libri (The book magazine), Poetry Review, Oxford Poetry.

His poems are translated in English, German, Spanish, Dutch and Sweden.

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It's necessary to recommend to the reader of Davide Marino's photographies, before he begins the reading, the virtue of patience.

He will need patience to observe, to read. Most of all he will need to strengthen the suspension of judgement. It has to be observed the time of “narration”, it is to be heard the voice of objects, as if they move around the printed paper, beyond the frame, as if they move beyond, or towards object by continuing to leave them.

And only with that extended attention that we will expose ourselves at the attention, we will perceive the awareness of precarious link between the meanings and absoluteness of the represented objects.

Even if we want to go deeper and deeper in the objects, even if we attempt a confidence with them, it will always be there the unfamiliarity we feel toward things, which challenge our look with their silence.

As well as a photography is nothing more of what it is, thing among things, an object made of material on which are represented some signs.

The Marino's visual adventure persuades and involves some of the thoughts which affects the limits of artistic inflections, about what we still want from photography.

Delivering the analysis to the phenomenological aesthetics sciences, we can deduce/conclude that at least two tendencies are identified in the modern artistic experiences, one is pointed towards to the celebration of appearance and the other is oriented to the experience of reality.

In the first case detachment and distance are typical of a catharsis and de-materialization process; in the second one, the access to what appears is linked to an existing and compromising condition. And a connection between abstract and materiality survives in both hypothesis.

Involving the photography in some critical discourses, it can be interpreted as a place of shapes where a material surplus materializes in a lack of reality. Essentially the feeling of time and a uncertain situation of hope struggle in the gesture of representation.

Lyotard would claim it's a “figurative space”, intended as a dynamic energy, where << the perceptible is not entirely perceived; the visual is no longer visible>>. So photography as art of reality or, if you prefer, as reality for art.

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Here the marvelous Davide Marino's mis-en-scene, after he gathered for a purpose and chose â&#x20AC;&#x153;things-objectsâ&#x20AC;?, he gives them a new existence, assigning to them a new point of view, another thought.

There is a difference between things and objects. The former are those we assign emotions, while objects are only what we oppose to the subjects.

The photography, used as a medium to connect outward appearance inner being-time, shows us how objects speak, become a discourse, subjects' figure. The atmospheric light drags shapes in a metaphysical silence where exists a faint vertigo linked to a previous life and to an appearance measured by reality. A built space which becomes container and contained.

A theater at your fingertips, where scenes, modulated by a synergic dawn, make descriptive and narrative dimensions coexist side by side. And this is art that does not reproduce what is visible, but makes it visible. That silent life, adapted in an illusionary proposition, suggests the idea of vanity of the things, while assigned and preserved human side in them suggests questions, reasons and rebuses.

Marino's photographies, as already said, need a slow lecture, rested in a contiguous state, where the closeness of the paper, where the image lays down, consists in the restoration of isolation.

It will be the opaque time of objects, the prolonged exposure to the thing, the thought about the single object, the new colors confused in the mind of who is observing, the naked icon which recalls meanings to itself, to build the figurative fulcrum of the gazes contained in the significative wunderkammer.

Danilo Cognigni

Danilo Cognini is a Semiologist of Figurative Languages.

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"Still": wait, pause to stop and observe the world, its colors, its forms.

While everything evolves, transforming flows, I let my mind rest in the doldrums.

The light has placed, a moment of the passing of time, on the objects and I have fixed this meeting, the source of which reaches our eyes, the image.

It's nice to move around and explore the unknown... but I want to feed me the peace that gives me the contemplation.

Davide Marino Born in Genoa in the 1964, after obtaining his degree in classical studies, Davide Marino enrolls in the Economy and Business Faculty in Genoa, but although passing most of the exams, he quit his studies to work in an accounting firm.

Always keen on art, after a severe family bereavement in 1993, he finds great solace and source of joy in Vincent Van Goghâ&#x20AC;&#x2122;s works and in Wolfgang Amadeus Mozartâ&#x20AC;&#x2122;s music.

By then he discovers the deep power that artistic expression has in healing the pain of living and, in photography, the most suitable way to study this research.

Although he learnt from his passionate father the basic techniques, he devotes himself to photography only in 1999.

He studies an expression form, a language which is able to communicate at the deepest level of emotional understanding, which pushes beyond verbal communication.

For the first time in 2001, in Genoa, he exhibits in public his photography, and three years later he decides to devote himself, as a professional, to photography.

In 2007, together with Alessandra Cevasco, he founds and starts working on an ambitious project: Incantations, a photo gallery, that is placed in Old Town in Genoa.

Currently, besides his activities as a photographer, he manages the exhibition area of Incantations and he teaches photography at the courses held there.

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Exhibitions: 2015 5 JAHRE (collective) - Galerie Edition Camos, Monaco di Baviera, December 2015-January 2016 THE SONG OF THE EARTH - Art exhibition - “Diffusa 2015”, Quiliano (Sv), July 2013 - MIAfair 2015 - Milan Image Art Fair, Milan, April 2015 THE WATERS OF THE LETHE RIVER - Galerie Edition Camos, Monaco di Baviera, May - June 2015 - ArteGenova, Genoa, February 2015 - MIAfair 2015 - Milan Image Art Fair, Milan, May 2014 - Art exhibition - “Diffusa 2013”, Quiliano (Sv), July 2013 - Studio Incantations, Genoa, October 2011 - Kratochville Castle, Southern Bohemia, June-August 2010 - The Art-Hall Gallery of Arts Support Found Gallery, Kiev, June 2010 - Studio Incantations, Genoa, January 2010 AEQUILIBRIUM - Studio Incantations, Genoa, October 2014 TEXTURA LUCIS (a project in collaboration with Alessandra Cevasco) - Damascus Museum, Lorsica (Ge), March-May 2014 - The Art-Hall Gallery of Arts Support Found Gallery, Kiev, June 2010 - Studio Incantations, Genoa, May 2009 MATER NATURA - Barrili Villa, Carcare (Sv), November 2013 - Studio Incantations, Genoa, November 2012 STILL - Restaurant Le Vitel E'tonnè, Turin, June-September 2009 - Restaurant Pinolo Mannaro, Genoa, September 2012

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WINGS (with Alessandra Cevasco) - “Il Portolano” Library, Camogli (Ge), September 2009 - Studio Incantations, Genoa, October 2008 ONE DAY… - Studio Incantations, Genoa, February 2008 HAIKU (whit installation by Alessandra Cevasco) - Studio Incantations, Genoa, February 2008 ONCE UPON A TIME… - TRIBUTE TO V. VAN GOGH - Sestrese civic center E. Montale, Genoa Sestri Ponente, June 2007 IMPROMPTUS - Foyer Social Theatre, Camogli (Ge), May 2007 HIDDEN IN THE SOUL - Exhibition hall, Public Library Berio, Genoa, April 2007 SCENTS OF LIGURIA - Cultural Center La Saletta, Genoa Pegli, July 2006 AWAKENINGS - Fieschi Palace, Genoa, April 2006 INCANTATIONS – TRIBUTE TO WOLFGANG AMADEUS MOZART MUSIC - Cultural Center Buranello, Genoa, January 2006 SEE YOU IN CAMOGLI - Porta Soprana Towers, Genoa, May 2005 INCANTATIONS - United States of America Consulate, Milan, August-September 2002

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Publications: THE WATERS OF THE LETHE RIVER â&#x20AC;&#x201C; Silvana Editor, 2014

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IL SENTIMENTO DELLA BELLEZZA

Texts by

Andrea Gibellini Danilo Cognigni Davide Marino English translation by

Arseniy Balagura Graphic project and layout

Leonardo Panichelli

Thanks to

Studio Incantations

Editor

studio LightBOX Civitanova Marche (MC) Printing

Marvel - 04/2016

IL SENTIMENTO DELLA BELLEZZA

www.grand-touritalia.it - redazione@grand-touritalia.it

Art iBook

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001 Davide Marino - STILL

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IL SENTIMENTO DELLA BELLEZZA