Booklet Luciano Romano

LUCIANO ROMANO

LUCIANO ROMANO

SOGLIE

Basel, 2017 (Basel, Switzerland, Messeplaz. Herzog & De Meuron) archival pigment print on cotton paper, mounted to dibond, 120 x 160 cm, 80 x 107 cm edition of 6

Barcelona, 2014 (Barcelona, Catalunya, Spain) archival pigment print on cotton paper, mounted to dibond, 120 x 160 cm, 80 x 107 cm edition of 6

Rotonda Foschini, 2007 (Ferrara, Italy) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Castel del Monte, 2014 (Castel del Monte, Apulia, Italy. Frederick II Holy Roman Emperor) archival pigment print on on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Comacchio, 2013 (Comacchio, Italy) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Antro della Sibilla, 2014 (Cuma, Naples, Italy) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Piscina Mirabilis, 2013 (Bacoli, Naples, Italy) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Piscine Romane, 2013 (Fermo, Marche, Italy) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Tempio di Mercurio, 2017 (Baia, Naples, Italy) archival pigment print on cotton paper, mounted to dibond, 120 x 120 cm, 80 x 80 cm edition of 6

Tempio di Venere, 2017 (Baia, Naples, Italy) archival pigment print on cotton paper, mounted to dibond, 120 x 120 cm, 80 x 80 cm edition of 6

Hole, 2017 (Naples, Italy, Chiaia Underground Station. Uberto Siola) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Dune, 2015 (Milan Expo 2015, Italy. Norman Foster) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Slot, 2018 (Los Angeles, USA, Disney Hall. Frank Gehry) archival pigment print on cotton paper, mounted to dibond, 120 x 160 cm, 80 x 107 cm edition of 6

2020, 2020 (Vele di Secondigliano, Naples, Italy) archival pigment print on cotton paper, mounted to dibond, 120 x 160 cm, 80 x 107 cm edition of 6

SCALE

Scala#1931, 2012 (Venice, Italy, Isola di Sant’Elena) archival pigment print on cotton paper, mounted to dibond, 120 x 160 cm, 80 x 107 cm edition of 6

Loop#1937, 2013 (Verona, Italy, Palazzo INA. Ettore Fagiuoli) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Scala#1936, 2012 (Milano, Italy, Palazzo della Fontana. Rino Ferrini) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Scala#1934 I, 2012 (Palermo, Italy, Posta Centrale. Angiolo Mazzoni) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Scala #1936 I, 2015 (Rome, Italy, Quartiere Prati) archival pigment print on cotton paper, mounted to dibond, 120 x 160 cm, 80 x 107 cm edition of 6

Scala#1927 I, 2015 (Paris, France, Hôtel Martel. Robert Mallet-Stevens) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Scala#1927 IV, 2015 (Paris, France, Hôtel Martel. Robert Mallet-Stevens) archival pigment print on cotton paper, mounted to dibond, 120 x 160 cm, 80 x 107 cm edition of 6

Scala #1911, 2017 (Naples, Italy, Palazzo Mannaiuolo. Giulio Ulisse Arata) archival pigment print on cotton paper, mounted to dibond, 120 x 160 cm, 80 x 107 cm edition of 6

Scala#1912, 2017 (Dům Černé Matky Boží, Praha, Czech Republic. Josef Gočár) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Scala#1882, 2014 (Barcelona, Catalunya, Spain, La Sagrada Familia. Antoni Gaudì) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Scala#1693, 2014 (Santiago de Compostela, Galicia, Spain, Convento de Santo Domingo de Bonaval. Domingo de Andrade) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Scala#1591 - I, 2013 (Venice, italy, Convento della Carità, Gallerie dell’Accademia. Andrea Palladio) archival pigment print on cotton paper, mounted to dibond, 120 x 160 cm, 80 x 107 cm edition of 6

Scala#1999, 2016 (Duisburg, Germany, Küppersmühle Museum. Herzog & de Meuron) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Scala#2016, 2017 (London, United Kingdom, Tate Modern The Switch House. Herzog & de Meuron) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Scala#2016, 2017 (Milano, Italy, Porta Volta, Fondazione Giangiacomo Feltrinelli. Herzog & de Meuron) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 100 x 80 cm edition of 6

Scala#1559, 2010 (Florence, Italy, Biblioteca Laurenziana. Michelangelo Buonarroti) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 100 x 80 cm edition of 6

Luciano Romano, Spirali, 2014 (polittico) Sconfinamenti#3, curated by Achille Bonito Oliva installation view at Spoleto, Italy, 58° Festival dei Due Mondi

Luciano Romano, Lo sguardo obliquo, 2012 installation view at Studio Trisorio

Luciano Romano, Lo sguardo obliquo, 2012 installation view at Studio Trisorio

OVERVISION

The Big Apple, 2010 (Apple Store, 5th Avenue, New York, USA) archival pigment print on cotton paper mounted to diasec+dibond, 150 x 200 cm edition of 6

Beehive, 2015 (Milan Expo 2015, Italy. Wolfgang Buttress) archival pigment print on cotton paper mounted to dibond, 120 x 160 cm, 80 x 107 cm edition of 6

The Seed Cathedral, 2010 (Shanghai Expo 2010, China. Thomas Heatherwick) archival pigment print on cotton paper mounted to diasec+dibond, 110 x 150 cm edition of 6

The Seed Cathedral, 2010 (diptych) (Shanghai Expo 2010, China. Thomas Heatherwick) archival pigment print on cotton paper mounted to diasec+dibond, 110 x 150 cm each edition of 6

Alphabet Street, 2010 (Shanghai Expo 2010, China) archival pigment print on cotton paper mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Twist, 2018 (Los Angeles, USA, Disney Hall. Frank Gehry) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm, 107 x 80 cm edition of 6

Horizon, 2015 (diptych) (Paris, France, Fondation Louis Vuitton. Olafur Eliasson) archival pigment print on cotton paper, mounted to dibond, 160 x 120 cm each, 107 x 80 cm each edition of 6

La memoria dell’acqua, 2007 (Venice, Italy) archival pigment print on cotton paper, 165 x 110 cm edition of 6

Tunnel, 2020 (Stockholm,Sweden) archival pigment print on cotton paper, 120 x 170 cm edition of 6tutto mi manca

Spectrum, 2013 (55 Venice Biennale, Italy. Kimsooja) archival pigment print on cotton paper, 160 x 120 cm edition of 6

Paris IMA, 2015 (Paris, France, Istitute du Monde Arabe. Jean Nouvel) archival pigment print on cotton paper, 170 x 120 cm edition of 6

Escalier d’eau, 2017 (Paris, France, Fondation Louis Vuitton. Frank Gehry) archival pigment print on cotton paper, mounted to dibond, 120 x 160 cm, 80 x 107 cm edition of 6

VIDEOCRACY

Insider, 2013 (Naples, Italy) archival pigment print on cotton paper, 160 x 120 cm, 107 x 80 cm edition of 6

Insider 2, 2020 (Naples, Italy) archival pigment print on cotton paper, 160 x 120 cm, 107 x 80 cm edition of 6

The rear window, 2007 (Naples, Italy. Robert Wilson) archival pigment print on cotton paper, 110 x 80cm edition of 6

Palazzo Madama, 2012 (Turin, Italy) archival pigment print on cotton paper, 160 x 120 cm, 107 x 80 cm edition of 6

Tenet, 2020 (Katarinahissen, Stockholm, Sweden) archival pigment print on cottonpaper, 170 x 120cm edition of 6

Factory of the sun, 2015 (56 Biennale, Venice, Italy. Hito Steyerl) archival pigment print on cotton paper, 80 x 107 cm edition of 6

VEDRAI ANDRÀ TUTTO BENE

Vedrai andrà tutto bene_Palazzo Donn’Anna, 2008 (Naples, Italy) archival pigment print on cotton paper, 120 x 160 cm, 80 x 107 cm edition of 6

Vedrai andrà tutto bene_Pignasecca, 2008 (Naples, Italy) archival pigment print on cotton paper, 120 x 160 cm, 80 x 107 cm edition of 6

Vedrai andrà tutto bene_Montesanto, 2008 (Naples, Italy) archival pigment print on cotton paper, 120 x 160 cm, 80 x 107 cm edition of 6

Vedrai andrà tutto bene_Galleria Umberto, 2008 (Naples, Italy) archival pigment print on cotton paper, 120 x 160 cm, 80 x 107 cm edition of 6

LUCIANO ROMANO

Luciano Romano trained as a stage photographer and his first assignment, at the age of 25, was with the San Carlo Theatre in Naples and he subsequently worked with La Scala Theatre in Milan and other international stages. Open to new photographic languages, he has received various prestigious awards such as the Atlante Italiano 003 prize, awarded by the Ministry for Cultural Heritage and the Milan Triennale, as well as a nomination for the Prix BMW - Paris Photo in 2007. Several of his projects were selected for the Hasselblad Masters Awards in 2014, 2016 and 2018.

He has exhibited in museums and public and private venues in Italy and abroad, including: X Venice Architecture Biennale (2006); Shanghai Universal Expo (2010); Madre Museum, Naples (2010); MAXXI Museum, Rome (2010); Fotografia Europea in Reggio Emilia (2011); Moscow Photobiennale at MAMM Museum, Moscow (2014); Castello di Postignano (2021). In recent years, he has taken part in artistic projects by Robert Wilson, Peter Greenaway and Shirin Neshat, with whom he created the installation Don’t ask where the love is gone in the Toledo-Montecalvario Station of the Naples Metro in 2013.

His works are part of numerous public and private collections including the Rauschenberg Foundation in New York, the MeMus - The Museum of San Carlo, the Madre Museum in Naples, and the MAXXI Museum in Rome. In December 2019, he created Song ‘e mare, a permanent installation in the Scampia station of the Naples Art Metro. He has been working with Studio Trisorio since 2012.

Luciano Romano si è formato come fotografo di scena in ambito teatrale e ha ricevuto all’età di 25 anni il primo incarico dal Teatro di San Carlo di Napoli, a cui sono seguiti quelli del Teatro alla Scala e di altri palcoscenici internazionali. Sensibile alla ricerca sui nuovi linguaggi della fotografia, ha ottenuto prestigiosi riconoscimenti come il premio Atlante Italiano 003, conferitogli dal Ministero per i Beni Culturali e dalla Triennale di Milano e la nomination al Prix BMW - Paris Photo nel 2007. Negli anni 2014, 2016 e 2018 diversi suoi progetti sono stati selezionati per gli Hasselblad Masters Awards.

Ha esposto in musei e spazi pubblici e privati in Italia e all’estero, fra cui: X Biennale Architettura di Venezia (2006); Expo Universale di Shanghai (2010); Museo Madre, Napoli (2010); Museo Maxxi, Roma (2010); Fotografia Europea a Reggio Emilia (2011); Moscow Photobiennale e Museo MAMM, Mosca (2014); Castello di Postignano (2021). Negli ultimi anni ha preso parte a progetti artistici di Robert Wilson, Peter Greenaway e Shirin Neshat, con la quale ha realizzato nel 2013 l’installazione Don’t ask where the love is gone nella Stazione Toledo-Montecalvario della Metropolitana di Napoli.

Le sue opere fanno parte di numerose collezioni pubbliche e private tra le quali la Fondazione Rauschenberg di New York, il MeMus Museo del Teatro di San Carlo, il Museo Madre di Napoli, il Museo MAXXI di Roma.

Nel dicembre 2019 ha realizzato Song ‘e mare, installazione permanente nella stazione di Scampia della Metropolitana dell’arte di Napoli.

A separate space

by Giulio Paolini As long as one is willing to listen, space is like an oracle, subject to infinite interpretations: viewed from above, in a foreshortened view or in prospect, it is “something” which the artist cannot (or does not want to) resist but rather pursues in an incessant quest for a measure, for a proportion which will allow her to inhabit it.

Each time, Luciano Romano’s lens is prepared to invent space, or rather, to translate it from a volume to a surface.

This is termed representation, a decisive step which is open to the most diverse intentions and interpretations, a representation which might be in keeping with the criterion of copying or, indeed, a very different principle, to the point of subverting and nullifying it – the objective evidence which constitutes the vision.

It is paradoxical, although in my opinion, necessary to keep within both incompatible and apparently irreconcilable

methods: neither is exclusive nor self-sufficient.

Representation achieves this objective when the delicate balance (or the perfect removal) of one or the other allows the image to be suspended beyond the limits of the scene, in an illusory, separate space which the theatre, the painting or the photo manage to simulate and thus capture our attention.

This leads to the immediate disappearance of any occasional or contingent trace and to the affirmation of that void, of that perennial “waiting room” which is our visual field.

Uno spazio separato di Giulio Paolini Sempre che ci si disponga ad ascoltarlo lo spazio é come un oracolo, una voce suscettibile di infinite interpretazioni: visto dall’alto, di scorcio, in sezione o in prospettiva é una “figura” alla quale l’artista non può (non vuole) sottrarsi ma che anzi insegue senza tregua nell’incessante ricerca di una misura, di una proporzione che gli consenta di abitarlo.

L’obiettivo di Luciano Romano si dispone ogni volta a inventarlo, ovvero a tradurlo da volume a superficie. É quel che chiamiamo rappresentazione, passo decisivo che apre alle più diverse intenzioni e interpretazioni: una rappresentazione può attenersi al criterio della copia o ad altro opposto principio, fino a sovvertire – annullandole – le evidenze oggettive che costituiscono la visione.

Paradossalmente, ma a mio avviso necessariamente, occorre attenersi a entrambe le modalità ancorché incompatibili e apparentemente inconciliabili;

nè l’una nè l’altra sono esclusive o autosufficienti.

La rappresentazione si compie cioè quando il delicato equilibrio (o la perfetta sottrazione) dell’una e dell’altra consente la sospensione dell’immagine oltre i limiti della scena, nello spazio illusorio – separato – che il teatro, il quadro o la fotografia riescono a simulare prendendo possesso del nostro sguardo. Che assiste così all’immediata sparizione di ogni traccia episodica o contingente, e all’affermazione di quel vuoto, di quella perenne “sala d’attesa” che é il nostro campo visivo.

LUCIANO ROMANO

Napoli, Riviera di Chiaia, 215 +39 081 414306 Napoli, Via Carlo Poerio, 110 +39 081 5276011 Napoli, Via Carlo Poerio, 116 +39 081 3508195 info@studiotrisorio.com studiotrisorio.com