FOTO DI TERRA : MARIO GIACOMELLI

typographer and self-taught photographer (1925-2000) from Senigallia (Italy)

MARIO GIACOMELLI’s  MOTHER EARTH

and my planet of leaves languages and trees meeting Anouar Brahem playing music on his oud (a Middle eastern string instrument)

MARIO GIACOMELLI, metamorfosi della terra, 385 x 278 mm

MARIO GIACOMELLI,  metamorfosi della terra, 385 x 278 mm

Mario Giacomelli passed away three days ago of some years ago November 25th and Mario Merz who was born the same year 1925 followed him on November 3d a few years after why should it be easy to remember dates that are not not at all interesting numbers they don’t shape the history of the person nor do they participate in the natural history not to mention the natural art made with numbers which is sister to music and spirals in the shells

Dans ce progrès invincible, et comme impeccable, de la forme, … qui semble créer son temps propre, on admire la combinaison du rythme, marqué par les taches ou les aspérités régulières, et du movement indivisible. C’est là voir de la musique. Paul Valéry, L’homme et la coquille 1937
an invincible almost impeccable progress of form… seems to create its own rhythm holding spots or regular asperities and an indivisible movement that is like seeing music

each of us surfing on a limited truth flows through life where time doesn’t exist as a peculiar volume buzzing with particles it can’t be stopped until mother earth disappears in meanders of memories that remake, retell the story so many times there is not a first image anymore over unfinished thoughts

tonight I don’t feel like breathing with commas and periods

I wish words could be sensitive like Mario Merz (1925-2003) forced them to be foglie tenere di acqua leaves tender with water or Giacomelli calling his pictures foto di terra photos made with dirt  rather than photos of earth because Italians at least some of us think of ideas like odd ghosts slipping away from the physical matter of a decomposed and ruined space where the animal person looks for abstraction – freedom

it didn’t happen to me for a while this need of disobeying it makes me see words sinking into Giacomelli’s blacks and whites while written lines are traced like furrows with trees and bushes in a wood of punctuation left behind for writers obsessed with grammatical intersections their soul not knowing where to go

effortlessly ancient habits join our art as if calligraphy and drawing were only one thing sharing the same space as five or six centuries ago in hybrid Chinese paintings meant to be poems of words and nuanced landscapes

Extraordinary events came to shake suddenly the quotidian life of millions individuals. We are projected toward the unknown, with immense fears, joys and hopes. What’s happening goes beyond imagination. It took me a long time to be able to write this music. Anouar Brahem Souvenance

Giacomelli says that language becomes the environment within which the image breathes as it flies toward a new life called art

more can be seen in a landscape that is language more than anything else sometimes plowed by the peasants under the artist’s request

more can be felt through the energy that connects our hands brain and feet to the larger scene of reality with it’s musical score inviting us to listen and share our part in it

ahead of the current localism Anouar Brahem’s music is an harmonious journey of intermingled songs that seem to pick from music of every kind petals of hope and strings of voices determined to expand together in a long rope of sounds free from style traditional forms and rigid obligations for beauty herself sings from the window waiting for the prince

the wind that goes around the column
goes round inside the column
it happens when one paints an image
giving reality to an image, the house runs with the world.

Mario Merz, Lo spazio è curvo o diritto 1990

MARIO GIACOMELLI IN HIS IMAGES AND WORDS

Attraverso le foto di terra io tento di uccidere la natura, cerco di toglierle quella vita che le è stata data non so da chi ed è stata distrutta dal passaggio dell’uomo per ridarle una vita nuova…

Through photos of earth (foto di terra) I try to kill nature, and take away from her a life received from I don’t know whom and destroyed by humans to give her a new life…

MARIO GIACOMELLI, presa di coscienza sulla natura, 300 x 405 mm

MARIO GIACOMELLI,  presa di coscienza sulla natura, 300 x 405 mm

Signs like light tension. It is like having emptied, carved the white out and filled it with dark.

Language becomes the environment within which the image breathes.

MARIO GIACOMELLI, Pesa di coscienza sulla natura, 388 x 283 mm

MARIO GIACOMELLI,  presa di coscienza sulla natura, 388 x 283 mm

The mark remains, the scar, the symbolic image of my intervention, as an act of expression to escape from a reality that does not leave space for creativity.

MARIO GIACOMELLI, storie di terra, 235 x 300 mm

MARIO GIACOMELLI,  storie di terra, 235 x 300 mm

I wish I could slide under the skin of things, to show the energy passing through my soul and the things around me

To express the potential that overturns the real into poetry

MARIO GIACOMELLI, presa di coscienza sulla natura, 392 x 298 mm

MARIO GIACOMELLI,  presa di coscienza sulla natura, 392 x 298 mm

I am not interested in repeating the visible things, but making visible what filters through my unconscious.

MARIO GIACOMELLI, Le fogli, 258 x 390 mm

MARIO GIACOMELLI,  le foglie, 258 x 390 mm

My latest ideas that are growing inside me from typography. In my latest photographs, naturally also in Landscapes, there are many apparitions. The object is always modified, but remains as a memory with the signs of the antique and present time, with a new memory, which is also that of the gesture, the movement, the document.

MARIO GIACOMELLI, presa di coscienza sulla natura, 305 x 404 mm

MARIO GIACOMELLI,  presa di coscienza sulla natura, 305 x 404 mm

Archivio Mario Giacomelli – Sassoferrato
http://www.archiviomariogiacomelli.it

These and others  photographs by Giacomelli are currently on display at Galleria Studio Guastalla, Modern and Contemporary Art, Milano (Italy).  I went to see the exhibition because Silvia Guastalla, curator and director of the gallery, decades ago was one of my students in the Department of Philosophy of the University of Pisa. A great joy to see her again and having her this time guiding me through Giacomelli’s art.