Curated by: Andrea Busto
The exhibition is divided into about 30 works chosen in the artist's twenty-five years of production. The exhibition path not marked in chronological order is, in all respects, a sort of anthological exhibition.
For those who know Vitali's work it will be important to find the sunny Italian beaches crowded with people on vacation (1995), but it will also be a surprise to see, for the first time ever, the shots of Jovanotti's concerts in his last Italian tour of 2019.
Massimo Vitali's work aesthetically draws on the history of art and not just that of photography. Italian by origin, Anglo-Saxon by training and with an international vision and attentive to the evolution of avant-garde research between the last century and the present one, the artist appears as a photographer inclined to leave no traces in his works of moments related to identifiable historical facts. His extremely frozen and crystallized world appears as if suspended in a still cinematographic image. There are never details identifiable with current historical facts, except for the titles that sometimes refer to crowded gatherings or fun evenings at the disco.
His work appears as a consequence of an "Enlightenment" period, where places are recorded which, beyond their geographical, landscape or atmospheric interest, are immortalized for what they are and "captured" by an algid and precise eye for quantity of details and details illustrated up to paroxysm. The buildings are returned in all their architectural identity and physicality; the
mountains have resumed, however impossible, to the last rock and lichen; the beaches and sand dunes, softened by reflections and shadows perceptible to the horizon. Like Canaletto and a lot
of eighteenth-century painting, his eye captures every detail and transfers it to photographic paper in a realistic and analytical way.
The atmosphere - to be clear, that of Leonardo's nuance and the spatial perception of the atomization of water and dust in the air - is nonexistent in his photographs. Everything is defined.
As in Canaletto the figurines then recite parts of a comedy written in a choral way, people appear as directed by an off-stage director and obey predefined dictates even if obviously unconsciously.
Everything is projected on a screen where the protagonists act, as educated actors, parts destined for them by contingent events.
The titles of the works tend to confuse the viewer as if the artist had intended precise parts and roles of the first actor for the people portrayed.
In works such as De Haan Kiss (2001), in which two boys in the foreground exchange a kiss, or in Cefalù Orange Yellow Blue (2008), where there are colored swimwear, it is the case that determines the title of the work decided in post production after a careful review of the photograph.