Mario Cresci

Artista

Mario Cresci (Chiavari, 1942)

He is among the first in Italy of his generation to apply and combine the culture of the project with experimentation on visual languages.

His complex work has its roots in multidisciplinary studies starting in 1964, the year in which he began attending the Advanced Course in Industrial Design in Venice. In 1968 he moved to Rome where he came into contact with Pascali, Mattiacci, and Kounellis. Photographs Boetti and the group of Arte Povera in Turin during the exhibition "Il percorso", curated by Mara Coccia at the Studio Arco d'Alibert. In 1969, at the Galleria Il Diaframma in Milan, he designed and produced the first photographic Environnement in Europe, in the name of the dualism between wealth and poverty.

Starting from the seventies, he hybridized the study of photographic language and the culture of the project with the interest for cultural anthropology, creating in Basilicata central projects for the development of photography in Italy, among which we remember the Matera book, images, and documents of 1975.

Niépce Prize for Italy in 1967, takes part in various editions of the Venice Biennale (1970, 1978, 1993, 1995); since 1974, some of his photographs, along with those of Luigi Ghirri, are part of the collection of the MoMA in New York.

He is the author of multiform works characterized by a freedom of research that goes through drawing, photography, video experience and installation. There are various themes and experiments developed in his works over the years: from meaning slips, to variations, from analogies to the relationship with the landscape and places of art - as in site-specific works that belong to the research of the last years , born thanks to the organic comparison with certain places and their historical, cultural and aesthetic peculiarities -. For Cresci, in fact, photography is never an end in itself, self-sufficient and singular, but it is always part of a story through images capable of combining knowledge and beauty, field research and visual emotion.

The experimental project of the laboratory-school of artistic training between art, multimedia and design, conceived for the Basilicata Region, brings him closer and closer to teaching that, from the late seventies onwards, became an integral part of his work as an author.

 

Biography

Biography:

He is among the first in Italy of his generation to apply and combine the culture of the project with experimentation on visual languages.

His complex work has its roots in multidisciplinary studies starting in 1964, the year in which he began attending the Advanced Course in Industrial Design in Venice. In 1968 he moved to Rome where he came into contact with Pascali, Mattiacci, and Kounellis. Photographs Boetti and the group of Arte Povera in Turin during the exhibition Il percorso, curated by Mara Coccia at the Studio Arco d'Alibert. In 1969, at the Galleria Il Diaframma in Milan, he designed and produced the first photographic Environnement in Europe, in the name of the dualism between wealth and poverty.

Starting from the seventies, he hybridized the study of photographic language and the culture of the project with the interest for cultural anthropology, creating in Basilicata central projects for the development of photography in Italy, among which we remember the Matera book, images, and documents of 1975.

Niépce Prize for Italy in 1967, takes part in various editions of the Venice Biennale (1970, 1978, 1993, 1995); since 1974, some of his photographs, along with those of Luigi Ghirri, are part of the collection of the MoMA in New York.

He is the author of multiform works characterized by a freedom of research that goes through drawing, photography, video experience and installation. There are various themes and experiments developed in his works over the years: from meaning slips, to variations, from analogies to the relationship with the landscape and places of art - as in site-specific works that belong to the research of the last years , born thanks to the organic comparison with certain places and their historical, cultural and aesthetic peculiarities -. For Cresci, in fact, photography is never an end in itself, self-sufficient and singular, but it is always part of a story through images capable of combining knowledge and beauty, field research and visual emotion.

The experimental project of the laboratory-school of artistic training between art, multimedia and design, conceived for the Basilicata Region, brings him closer and closer to teaching that, from the late seventies onwards, became an integral part of his work as an author.

Works

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