Location: Bergamo (Italy)
Since the end of the 1960s, Mario Cresci has been the Italian artist whose work has allowed the development of an experimental language specific to photography.
His complex work is rooted in the multidisciplinary studies he undertook in Venice in 1962. He was influenced by his encounters with the main artists of Arte Povera. In particular Pino Pascali, Eliseo Mattiacci, Yannis Kounellis and Alighiero Boetti, after his installation in Rome. in 1969.
In 1969, he produced the first Photographic Environment at the Il Diaframma gallery in Milan, exhibiting a thousand transparent cylinders containing a thousand photographs, also transparent.
In 1970, he was invited to his first Biennale in Venice; since then he has been invited again three times (1978, 1993, 1995).
In 1974 he moved to Matera – which was chosen to be the European Capital of Culture in 2017. Thus, he undertook a project that would become essential to the development of photography in Italy. In particular with the publication of Matera, immagini e documenti. A book which is today considered the first photographic work on urban cultural anthropology.
Give meaning to photography.
Later, Mario Cresci developed new themes and new experiments that earned him a prominent place among the Italian photographers who give meaning to photography. A photograph with its power to constantly shift our relationship to reality. Photograph which modifies the terms of the question, evoking an “illusory” form of naturalness.
Isn’t that the only question that perhaps validates the practice of photography, the question of the meaning of reality. To know how to represent it and how to imagine it? Mario Cresci answers this question in a remarkable way.