Fabio donated to the PAN
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| Fabio Donato Maria Savarese (Alessandro Manna) |
Naples So, because one of the more repeated - even if only a watermark - the images is that the Gulf has always been (and probably always will be) a crossroads of intellectual excellence, Indeed, intellectual, and that only in magic land Partenope could combine meetings like the one organized in 1980 by Lucio Amelio, Andy Warhol and Joseph Beuys. Fabio Donato was there, as was witnessed in 1969 the Living Theatre Julian Beck. In short, the subtitle of the exhibition Naples, a photojournalism along forty is right there to point out a special place and a very considerable period of time.
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| Julian Beck 1969 (Fabio Donato) |
photojournalism is a term that generates more than a misunderstanding, as well as photography in general, destined always to be confused with a documentary tool only. Fabio Donato no documents, photographs, he uses his mind, his sensitivity, his culture and his instinct to create a different expression, photography is therefore an image built by an intelligence (that of photographer) on other intelligence (the photographer). Recalls the weighty catalog Luca De Fusco: "... I have never had such beautiful pictures on my shows as in my Neapolitan period when Fabio told my work with his images [...] (I've) always had to defend the actors not seen pictures [...] Fabio has always photographed what seemed to him, almost always directed but if felt like it became a formidable portraitist. " Different things could have written the same or Joseph Beuys Chiari: to interpret the instrument mechanic what you see, here's the photo. Document becomes the end of that two-dimensional tuning of minds, which etymologically means teaching with-memory, half a paper that will be a test (only likely already argued Roland Barthes) of an event.
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There are nearly all here, the protagonists of four decades of social and cultural vitality, by Eduardo Pupella in May by Nino Taranto, Lina Sastri, Eugenio Bennato the Avion Travel (in a no frame), by Achille Bonito Oliva Lucio Del Pezzo, from a Barisani Tatafiore, Mario Help Mario Valentino, and then Mapplethorpe, Hermann Nitsch, Pino Daniele, Sergio Fermariello, Fernanda Pivano, Roberto Benigni.
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E 'clear, then, as well as its intrinsic coherence the stylistic Fabio Donato, and that this matching ponderous, almost an anchor in the depths of reality, let a great ease in the construction of the image and technique, passing - and rehearsing - by Juventus thesis, hard countered those relaxed, soft, high-tone scale, color and monochrome to digital without the snobbery of any kind, strong conviction that the optical instrument of change, but that the real photographic tool is made of eye and brain.
In a retrospective exhibition at the same time so brief (the photographer and the curator pointed out that the total stock at the time, of 300,000 images), deliberately degage in setting , Fabio Donato also poses a challenge to its contemporary use is about memory and the importance of archives, both about the ability of cultural production. It does so with an elegant volume littered with great scenes and indelible mark, with an exhibition as an archive "Alphabetical" and obviously he does with all its lightness, its sweetness almost Zen never imply that a bow, but without ever losing sight of its target.
Lightness that the photographer also takes into armed of his camera, a quality that allows it to be almost invisible at times when you must, but camouflaged present, but hidden tireless witness.
This exhibition is a very precise center, but no one has noticed his bow arm.
Alessandro Manna
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