The artistic journey of Lorenza Lucchi Basili has so far been almost entirely developed in collaboration with independent spaces and museums. The exhibition at OREDARIA Arti Contemporanee is her first solo exhibition in a private space, after almost ten years of intensive exhibition activity in Italy and abroad (currently she has also public personal exhibition at the Art Museum at Radford University in the United States). The title of the exhibition, “Inside out / Outside in”, recalls the text of “Perpetual change”, one of the most famous compositions of Yes, a progressive group of the seventies: “And one peculiar point I see/As one of many ones of me/As truth is gathered, I rearrange/Inside out, outside in, inside out, outside in/Perpetual change”. The text alludes cryptically to some of the core elements of Lucchi Basili’s research: the complexity of vision and the multiple points of view, the boundary between inside and outside, the phenomenological problem of the state of truth in perception and its flow.

Lucchi Basili's works are photographs that have as sole subject the architecture, but it would be simplistic to classify them as architectural photos. The images correspond strictly to the conditions of perception of the time of shooting, and are never postproduced after. They depart from the architecture to create a sort of phenomenological “core sample” uncovering subliminal layers of reality and questioning the prejudices and social conventions that define and impoverish our perception of reality. The investigation of architecture is actually a survey about society and civilization that built these manufactures and they talk about themselves through a removed language that the images of Lucchi Basili bring back to light and with which forces us to confront them. As Mark Gisbourne writes in the text of the catalogue: “as we all know that urban space is an environment orchestrated by the practices of the town or city planning, the images of Lucchi Basili are able to cause an alternative way of urban de-realization”.

The visual splendour and the almost pictorial quality of the images of Lucchi Basili do not correspond to the aesthetic and conceptual standards of other experiences of contemporary photography that favour declared and legible documentary aspects and that explicitly confront themselves with social and politics issues.

The images - that are obtained as real instants without any planning nor control of sequences of very rapid snapshots, a process that almost recalls a psychological analyses and its quick association of meaning - may mislead the viewer used to a predominant standard, because they suggest a analyses focused on the aesthetic dimension on itself. But this alienation is a necessary step to reveal the shocking beauty of what is removed of our skyscrapers, our infrastructure and even our shopping centres. The alienation is also necessary to make the viewer aware. Again in the words of Mark Gisbourne, “we are offered clues but the visual meaning is not determined, and this is what I mean when I say that the images of Lucchi Basili are collaborative with the viewer”. 

The social and political implications of the investigation of Lorenza Lucchi Basili refer at long term and don’t give us accurate lessons, but only questions. They confront us with the theme of space and perception in ways that more than to the artists of her generation, refer to the photographic conceptualism of artists as Jan Dibbets and Gordon Matta-Clark.

The project “Inside Out / Outside In” presents two unedited photograph series, “Space sixty-three in Seattle” and “Space sixty-eight in Vienna”. “Sixty-three Space, Seattle” occupies the entire main space of the gallery and is dedicated to the public library designed by Rem Koolhaas, that is here reassembled in a narrative path where images of the exterior and the interior are alternated, communicating intensely and almost inextricable with the surrounding architectural space. Like in a fractal border, we cross continuously the boundary between the “inside” and the “outside” in unpredictable ways, until we reach the heart of the building in which the colour instead takes over and reveals a deeply disturbing world of hallucinatory perception. “Space sixty-three, Vienna”, presented in a smaller gallery space, consists instead of three large photographs of a series dedicated to the Vienna subway and is so far unedited. It offers fragments of explicit human presence inside the images, taken during the act of crossing a kind of metaphysical sea: the typical non-place of Marc Augé, the space apparently without metropolitan identity turns into a fascinating place of contemplation.

The images of “Space sixty-eight, Vienna” are also part of the project that Lorenza Lucchi Basili is preparing for its solo show at the Statements section of Paris Photo at the Carrousel du Louvre, programmed for next fall, 15 to 19 November in Paris.

In occasion of the exhibition a catalogue will be published, edition SKIRA/OREDARIA with a critical essay by Mark Gisbourne.

 

 

INTRO

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