The Cassa di Risparmio di Jesi Foundation and the Municipality of Senigallia present the photographic exhibition Flat time is the right time, a unique opportunity to see over a hundred emblematic images exhibited together that have investigated the relationship of the photographic medium with bodies, places, surfaces, and still lifes, subjects dear to art and photography, both historical and contemporary. Curators Roberto Maggiori and Luca Panaro have selected 67 international authors from the vast Pier Luigi Gibelli Collection who best represent these macro-themes, each preceded by a reflection introducing the visual journey. The exhibition is divided into two locations: Palazzo Bisaccioni in Jesi with the section dedicated to bodies and Palazzo del Duca in Senigallia with photographs of places, still lifes, and still life.

The exhibition reflects on the importance of a collection as a way to understand the evolution of artistic language through a series of personal choices, capable of offering a perspective on photography while highlighting advancements and stylistic recurrences offered by the use of the medium. The collection in question belongs to Pier Luigi Gibelli, a plastic surgeon who started collecting photography in the early '90s, discovering himself as a collector out of passion, an expression of the same aesthetic sensitivity that guides his profession. Visiting the exhibition, beyond the thematic sections and their distribution in the two exhibition venues, one can notice a particular attitude towards image construction. 

Some exhibited works focus on close-up shots, in many cases the photographer's attempt seems to be to observe reality from a different perspective, one that is not always accessible to the human eye, making it innovative and offering new research opportunities. Having moved beyond the adherence of photography to reality, the chromaticity of the image follows the perception we have of things in media representation. 

The photographer is less inclined to document a place in some works, instead, they are more interested in the occurrence of an action that they themselves make happen within the landscape and that only respects the internal rules of their artistic poetics. The exhibition highlights at times some internal revolutions within the apparent linearity of the history of photography, which we must attribute to artists who are not easily categorized within movements or currents, bearers of a poetic often solitary but deeply influential in the ongoing artistic changes.