di Mario Cresci
A 50-year journey. The present explaining the past and the past modifying the present in an continuous, uninterrupted circle. Mario Cesci takes inspiration from Gibellina and its history in order to connect 1968 the year in which he narrates the story the victims of the Belici earthquake and their protest in Rome – to 2018, in which describes the city on the 50th anniversary of the earthquake.
In March 1968, two months after the devastating earthquake., a large protest invades the centre of Rome. Cresci entered the earthquake victims’ march and by pure distraction, he accidentally replaces the roll of film in his camera with one that has already been used. Extraordinary double exposures in black and white emerge.
Cresci understood the power of those images, so he printed a 13-meter black and white ribbon of the photographs which he exhibited in the centre of Rome for a few hours.
The story could have ended there in 1968 but Cresci decided to reopen the past and broaden his thoughts. Fifty years on from the protests in Rome, he felt the need to visit the town, which was, the symbol of that famous earthquake. He travelled to Gibellina and once again begins to look for an autonomous way to look at the city, far from simple documentation: a multiplicity observation of architecture and landscape, which in Gibellina has not been stratified over the centuries, instead it has arisen from a rupture, from a "fabula" , from a utopia.
The result is a complex set of fragments, a mosaic of visions, in which photography interprets architecture and expands it.
Cresci breaks up the city to understand it, creating multiple meta-worlds, an extremely orderly and deeply hypnotic chaos, which makes one loses their sense of orientation, causing the energy of these places to emerge.
Since the sixties Mario Cresci (Chiavari, 1942) has created a complex selection of works characterised by a freedom of research ranging from drawing, photography, video, installation and site specific interventions. He is one of the first artists of his generation to apply the culture of the project by combining it with experimentation on visual languages. In 2004 he has his first anthological exhibition “Le case della fotografia. 1966-2004” at GAM in Turin. In 2017 the exhibition “La Fotografia del No. 1964-2016“ at the GAMeC in Bergamo, where he exhibits fifty years of work addressing the pathway to reading some of the major themes shared by most of his projects.
From 2010 to 2012 he produces the project “Forse Fotografia: Attraverso l’arte; Attraverso la traccia; Attraverso l’umano” with an itinerant exhibition within museums in Bologna, Rome and Matera; he also publishes a catalogue with the same title for Allemandi Editions, a book comprised of critical texts and images about his work.
He participated in the Venice Biennale in 1971, 1979 and 1993 in "Paper walls, photography and landscape after the avant-gardes”.
Some of his photographs are housed at MOMA's collection in New York. His works are featured in numerous private contemporary art and photography collections and within notable permanent museum collections.
He teaches at the ISIA University in Urbino and at Foundation FMAV in Modena.
He lives and works in Bergamo.