From the exhibition "Two or three corners of the house"
Galleria Taide Storage Facilities "- Salerno 1981
GOoD use the photo for a humble work, exhibited in his primary value of playing a scene. A corner of the gallery becomes a privileged space for a few objects that refer to the house, the activity that takes place.
finds objects that look very much like survivors of a disaster: a book, a flower, a flute, a wooden toy, a bow to be used in a small rudimentary garden, some other object to guess within Forgot recreational activity. The gallery is empty (in this case, the Thais of Salerno, known for its magazine "minimum material") white and sterile as a laboratory before an experiment. Only the corners are occupied up to a height of fifty centimeters angles used in pairs, symmetrically. On the one hand the little scene of daily life, the house too remembered or forgotten (the exhibition is titled "Two or three corners of the house"), the other a photograph of the silent representation reproduce the magic of memory, the search for a lost three-dimensionality, of a life now impenetrable except by an image, a reconstruction flattened on a sheet, as a process of condensation. "The noemi de la Photographie est simple banal; Aucune profondeure: ça a été ". But not the last memorable debate Barthes, as far as suggesting the operation of Dubuffet Riviello: As to his" theater of memory. "A comparison does not Riviello and certainly one of Dubuffet, but the search area between the two. The objects are aligned in the picture of one with attention-intention to revisit the mechanisms of memory as a canvas on the other: the memory does not allow himself to take hook of rebuilding itself, if not drained of every speck-dimensional, any possibility of ripercorribilità. So then it becomes understandable the dual position, the symmetry of the arrangement of objects and their photographic representation: it is a memory due to where they started, an attempt to repeat the elementary processes, mechanisms.
But we also groped the contrary interpretation: the dream of two-dimensional photo composition is extracted in the space of the same objects represented. The memory according Riviello, would, then, his primary labyrinth from which he does not know, nor can it, quit. The objects show their deaths and hide.
Two representations that refer to each other in a circuit not proceed, but refers only to other circuits mirror similar in other corners of the gallery (as in other corners of memory).
"Or, a soir de November, peu de temps après la mort de ma mère, je rangeai des photos.
Rino Mele
Salerno, 1981
From "Art in-transit Pubblicinvasioni "
Power 2009
" ... bread and water? " Angelo Riviello
image directly and essentially, an effective tagline that arouses curiosity. The language is certainly borrowed from the advertising touts this ... but what? The bread and water the essential elements of life are combined to a phrase that refers to a means of punishment, restraint. The artist's images and words communicate with irony and ambiguity is a complaint to the state of poverty prevailing in much of the contemporary world that is reversed easily in a exhortation to recover the sense of simple values \u200b\u200band frugal, not to forget the essential in these times of redundant.
Barbara Improta
power in September 2009
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