лица, которые не знают ритуалов или ограничений норм поведения, оставляя в воздухе вопрос о том, что же на самом деле значит «нормально».
Тема Франкенштейна – искуственно созданное уродство или крик о естественном стремлении к прекрасному, которое хрупко и в тоже время страстно, наивно и агрессивно, вежливо и бесстыдно одновременно ?
Эти лица в интепретации Морганти кажутся бессмертными, настоящими, а зритель чувствует себя как аморальный, корумпированный и слепой; кто такой «монстр», что такое «святыня» и кем являешся ты сам ?
Джордано признаётся, что работая с людьми, которые объединены в образе Франкенштейна была создана некая общность, доверие и естественность отношений, это были «приятные встречи», но проблему создавали «остальные, особенно координаторы, помошники, «нормальность» которых пугает своей прозаичностью и заставляет чувствовать отвращение от встречи ».
Тело, ум, душа объединяются в лице и трагедия распространяется от конкретного лица через рефлексию зрителя на общество, на нашу мораль и способность сохранять здоровое сознание.
«Моя работа – это своего рода Троянский конь через которого, используя эстетику, как исходный пункт, я передаю социальное послание.»
Знаменитый художественный критик Vittorio Sgarbi трактует работы Джордано Морганти как книги, которые следует читать, другие видят в них поэзию «чистого искуства».
Выставочный зал
„HAPPY ART MUSEUM”
Dzirnavu iela 67, Rīga,
„Galleria Riga”,
Ex corsisti un giorno artisti. R.A.W. Reflex around the world
Torino - dal 22 gennaio al 20 febbraio 2012
Torino - dal 22 gennaio al 20 febbraio 2012
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54° Biennale di Venezia, padiglione Italia
Torino - dal 17 dicembre 2011 al 29 febbraio 2012
Torino - dal 17 dicembre 2011 al 29 febbraio 2012
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25 anni con La Nuova Pesa
Roma - dal 4 al 20 maggio 2011
Roma - dal 4 al 20 maggio 2011
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Giordano Morganti - Psichiatric Hospital Frankenstein
Milano - dal 27 ottobre al 27 novembre 2010
Milano - dal 27 ottobre al 27 novembre 2010
Ai Giorni Futuri
Genova - ven 6 novembre 2009
Genova - ven 6 novembre 2009
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Giordano Morganti - Blood on Blood
Genova - dal primo ottobre al 29 novembre 2009
Genova - dal primo ottobre al 29 novembre 2009
NO IMG
The polaroid
Milano - dall'undici dicembre 2008 al 9 gennaio 2009
Milano - dall'undici dicembre 2008 al 9 gennaio 2009
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Collettivo 180
Genova - dal 9 ottobre al 30 novembre 2008
Genova - dal 9 ottobre al 30 novembre 2008
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Giordano Morganti - P.H. Frankenstein
Mantova - dall'otto al 29 settembre 2007
Mantova - dall'otto al 29 settembre 2007
1975 Milano
Mostra “LA DONNA”
Galleria Molino delle Armi.
1980 Milano
Sicof “THE BODY” a cura di Lanfranco Colombo.
1981 New York
Mostra itinerante “12 FOTOGRAFI ITALIANI” Monas Hierogliphica.
1982 La Spezia
Centro Allende “GRANDI MAESTRI – i fotografi di Vogue” a cura di Alberto Nodolini, 5 marzo 1982.
1983 Pechino
Museo d’Arte Moderna “MOSTRA REPUBBLICA CINESE”, donazione Lanfranco Colombo.
Milano
“THE BODY” nella chiesa sconsacrata di Via Piero della Francesca.
1984 Berlino
Mostra Storica “LA FOTOGRAFIA TEDESCA”.
1985 Barcellona
Mostra “ 1° BIENNALE D’ARTE “ Catalogo ufficiale.
1987 Milano
Mostra a Palazzo Reale “ L’UOMO VOGUE 20 ANNI DI RITRATTI “ Catalogo Condé Nast ottobre.
Milano
Sicof Mostra “DONNE SENZ’ANIMA” a cura di Lanfranco Colombo.
1988 Milano
Mostra Galleria San Fedele “NIENTE” a cura di Alberto Piovani.
1991 Milano
Mostra Galleria Credito Valtellinese “ AMNESTY INTERNATIONAL “ curata da Giovanna Calvenzi.
1993 Milano
Mostra presso la biblioteca di Via Senato “ FONDAZIONE DI FOTOGRAFIA “ dedicato a Lanfranco Colombo.
Bergamo
Mostra “ ACCADEMIA DI FERRARA “ Galleria d’Arte Moderna.
1994 Milano
Mostra Galleria San Fedele “ NEL PAESE DELLE MERAVIGLIE “ curata da Daniela Palazzoli. Dal 19 gennaio al 12 febbraio.
Roma
Mostra “ PROVINI D’AUTORE “ Centro Culturale Francese, P.zza Navona. Catalogo Federico Motta. Dal 18 febbraio al 12 marzo.
1995 Varese
Mostra “ RITRATTI “ presso Rossi di Albizzate, curata da Alberto Piovani.
Milano
Teatro Franco Parenti “ STORIE DI DIPENDENZA “ , dal libro di Emilio Tadini.
Roma
Mostra “ RITRATTI ” Mostra d’Arte Moderna, curata da Franco Lefèvre .
1997 Milano
Mostra Multimedia Gallery. Dal 7 al 25 febbraio.
2000 Milano
Mostra della Rivista “ CITTA’ “. Galleria Antonio Iannone. Dal 1 al 15 ottobre.
2001 Mantova
Mostra Galleria Bernardelli “ COME VEDONO I CANI “ antologica. Dal 8 settembre al 7 ottobre.
2002 Roma
I° Festival della Fotografia, presso la Galleria “ La Nuova Pesa “ collettiva con Jannis Kunellis e Rebecca Horns. Dal 25 maggio a novembre.
Roma
Campidoglio “SENZA FISSA DIMORA” 22 giugno.
2003 Milano
Pelota, mostra collettiva durante la “ Fiera del Designer “ con 11 immagini, maggio.
Roma
III° Festival della Fotografia “ Temple University “ “ CHI SIAMO “. Dal 17 maggio al 22 giugno. Catalogo Federico Motta.
Todi
IV° Festival Città di Todi “ NATURA MORTA: RIFIUTI “. La mostra tratta della Follia, curata da Simona Marchini. Dal 18 luglio al 31 agosto.
Mantova
Mostra Galleria Area Bernardelli “ RESURREZIONI “ e catalogo, dal 6 settembre al 8 ottobre.
Milano
Mostra personale “ IL VOLTO “ curata da Toti Melzi. Fondazione Collegio Università, 29 settembre.
Palermo
“ DA TIZIANO A DE CHIRICO e altre solitudini“ Albergo delle Povere, dal 11 ottobre al 11 gennaio 2004.
2004 Milano
Asta Sothebis “SCATTI PER BENE “. Catalogo De Agostini. Dicembre 2004.
2005 Torino
“ IL MALE “ mostra curata da Vittorio Sgarbi, Palazzina di Caccia Stupinigi, catalogo Skira.
Aosta
“ RITRATTO INTERIORE “ mostra curata da Vittorio Sgarbi, dal 31 maggio al 2 ottobre. Catalogo Skira.
Milano
Asta Sothebis “SCATTI PER BENE “. Catalogo De Agostini. Novembre.
Milano
Mostra “ I SORDI E LA FISIOGNOMICA “ sottotitolata “ il silenzio e la parola “ per lo spazio dedicato alle mostre, Libreria Feltrinelli di Milano, dal 9 novembre al 8 dicembre. Inaugura il 14 novembre onorandosi dell’ intervento dello storico dell’arte Flavio Caroli.
2006 Lodi
Mostra dal titolo “ L’INQUIETUDINE DEL VOLTO - da lotto a Freud da Tiziano a De Chirico”, curata da Vittorio Sgarbi, presso le sale della B.i.p. Italia City (Banca Italiana Popolare), è presente un’opera fotografica. Dal 11 novembre 2005 e chiude il 12 febbraio 2006, catalogo Skira editore.
Reggio Emilia
“ IL VOLTO DELLA FOLLIA “ a Palazzo Magnani, curata da Sandro Parmigiani, dal 12 novembre 2005 al 22 gennaio 2006, si tratta della più grande mostra collettiva sulla malattia mentale con una raccolta di circa 500 scatti a partire da fotografie dell’ottocento fino alla contemporaneità. La mostra è in un grande catalogo edito da Skira.
Varallo Sesia
Nelle sale di Palazzo D’Adda una mostra personale, a dittico. Titolo: “ ESTERNINTERNI “. Per il trentennale dell’ Alpaa. La mostra inaugura il 9 luglio.
Milano
Galleria “ Brera 5 “ di Montrasio, mostra personale inaugura il 30 novembre: “ MIND’S FRIENDS: THE NEW MONARCHY “. Catalogo mostra.
Presentazione I° libro “ OPERAZIONE FRANKENSTEIN “ in tre volumi. Silvana editoriale.
Bar Giamaica mostra curata da Pedrazzini. “ MINDS WALLS “ inaugura il 15 novembre.
2007 Mantova
L’assessorato ai beni culturali della città di Mantova per la serie “ I Grandi Fotografi “ realizza una mostra occupante le sale di “ Palazzo Tè “: per la prima volta sono esposti i 34 anni di lavoro di ricerca.
Denver
“ IL VOLTO DELLA FOLLIA “ diventa mostra itinerante con prima tappa Denver poi Parigi.
Parigi ultima tappa.
2008 Genova
Mostra Galleria VisionQuest “COLLETTIVO 180” dal 10 ottobre al 30 novembre
Milano
Mostra Galleria Cà di Frà “POLAROID” da novembre a gennaio.
Verona
Arte Fiera: Galleria Movimento, interpretazioni di “ P.H. Frankenstein “ eseguite da Giovanni Sesia e tre mie opere originali.
2009 Siena
Mostra Museale Fondazione Monte dei Paschi “ARTE GENIO E FOLLIA – IL GIORNO E LA NOTTE DELL’ARTISTA” Ideatore e Curatore Mostra VITTORIO SGARBI dal 30 gennaio al 21 giugno, catalogo MAZZOTTA.
Genova
Mostra personale Galleria VisonQuest “BLOOD ON BLOOD” dal 01 ottobre al 29 novembre.
Milano
Dibattito presso la sezione di Filosofia del’Università Statale, argomento P.H.Frankenstein il 13 maggio, relatore prof. Massimo Rizzardini.
2010 Milano
Personale a “Spazio Tadini “ P.H. Frankenstein in allestimento completo come a Palazzo Tè nel 2007. Dal 27 Ottobre al 27 Novembre.
Milano
Collettiva a “Spazio Tadini” dal 1 Dicembre al 18 Gennaio 2011. “ la natività nell’arte”.
2011 Roma
Collettiva a “Nuova Pesa” per il25° anniversario della gestione di Simona Marchini.Presento un’opera inedita
“ Il segno dei quattro” dal 4 Maggio al 20 Maggio
Milano
Malpensa sala vip Monteverdi “ p.h. Frankenstein” dal 2 dicembre al 30 maggio poi prorogata fino al 4 Novembre.
Venezia
Biennale” 5 mie opere” parteciperanno alla fondazione del “ Museo della Follia”
di Vittorio Sgarbi a Torino inaugurazione il 29 Novembre
Milano
Collettiva a " Spazio Tadini " I Muri dopo Berlino si chiamano frontiere dal 16 giugno al 29 luglio
Milano
Collettiva " Spazio Tadini" Soldi d'artista presentata l'opera " Sanfigheuro 666"
In fact, tragedy spreads from the face to the body. Those ankylosed hips, those postures of precarious balance, that thinness and the obesity, all contain the mystery of a destiny condemned to segregation within a cocoon, to imprisonment within its flesh, a cocoon which hurts but may be more expressive than all the words in the world. At this point, Morganti has the most wonderful and, if I may say so, overwhelming intuition. He focuses his lens on the treatment of particulars, because it is there in the details that nature an infinity of times selects the ways in which cells are to evolve; it is all a question of destiny as to whether this way will be briefly redemptive, partly happy or fatal. Thus, fingers or teeth inside a mouth can express images like a painting by Mondrian, and an elbow or a hip can occupy a place in space as classic, unreasonably perfect, forms. Morganti calls this the “casting of the dice” in the development of cells in space. All this brings us back to nature, to the woods and to the trees that grow in the wind which, without doubt, have got souls. In this context the miracle of diversity is infinite, it lives in the phyto-structure of the barks, in the beautiful benign tumours characteristic of wood, in the sumptuous shield of leaves separated into parts by light and shade. A mysterious plan or, more precisely, the obscure destiny of Being which manifests itself in the tangible world. Morganti draws a surprising and fascinating conclusion from all this. The key to each and every truth is in the safekeeping of Frankenstein, “monster” ( in appearance, that is) and king of all anomalous cellular growth. Morganti states that the Frankenstein of the first millennium was Jesus Christ. I think I shocked him the day I reminded him - this may be confirmed - that the first picture ever of Jesus Christ was the one etched by an enemy of his, which represented him with the head of a donkey. To be precise, Frankenstein. It is now a question of identifying the Frankenstein of the third millennium. Not an easy quest because Frankenstein hides himself, since he is suspicious of - and rightly so - of human beings. In his “anomalousness” the sense and the destiny of the future world will be reflected. He - rightly - hides himself. I have no doubt but that Giordano Morganti will discover him where one would least expect. Flavio Caroli
Giordano Morganti (Eng)
Gallery “HAPPY ART MUSEUM” presents Italian photo master Giordano Morganti exhibition “PH FRANKENSTEIN”, 5th July - 5th August 2012.
Giordano Morganti (was born in Milan in 1956) is the significant master of physiognomic.
Giordano has more than 30 years of experience of picturing famous persons, such as Dustin Hoffman, Kirk Douglas, Borges, Amado, Francesca Neri, Ornella Muti, Lou Reed, Vasco Rossi, Ettore Sotsass, Grace Jones, Mario Schiffano, Francesco Cossiga, Françoise Mitterand, and others.
Giordano had working collaboration with Vogue, Harpes, Bazar, Stern, Sette, Il Venerdi di Repubblica, and other journals.
In his works Giordano addresses heavy and delicate social themes – psychiatric hospitals, children with the Down syndrome, homosexual and lesbian love and self-expression, persons on the streets, whose fate has turned away from them…. He believes in purpose of his art – to battle with social stereotypes, ignorance and arrogance…
The demiurge of the moment of truth, he reflects the faces, which do not recognise behavioural or ritual limitations, leaving in the air the question of what really ‘normality’ means.
Frankenstein theme – artificially made deformity or the shout of the natural drives for a beauty, drives, which are fragile and passionate at the same time; naïve and aggressive, kind and shameless? These faces in interpretation of Morganti seem being immortal, real, while you feel amoral, corrupted and blind; what is “monster”, what is “divine”, what are you yourself?
Giordano admits that working with people, who composed the image of Frankenstein, the unity, trust and ‘naturality’ were created, it was “a pleasant meeting”, the problems are in the rest, especially co-ordinators and helpers, whose ‘normality’ ‘scares with its basic, prosaic concerns and causes dislikes of the encountering’.
The body, cognition and the soul are united in the face, and tragedy spreads from the particular face, through the viewer's reflection, on society, to our morale and ability to maintain sanity.
“My work is a kind of Trojan horse through which, using the aesthetic as a starting point, I convey a social message”.
“In human nature is to search dividing the elements, my Frankenstein lives uniting them. One famous psychiatrist expressed the thought: your Frankenstein is the creature of the third millennium, in the second was that of Shelly, but in the first millennium was there the one or not?
My answer is:
Of course, - Jesus Christ. – šo jūs izņēmāt latv. un kr. varianta, un pareizi izdarījāt, bet var būt var noderēt brošūrai vai kā atsevišķs citāts kaut kur izstāžu zālē…
Vittorio Sgarbi, famous art critique, defines the works of Giordano as the books to read, while others see them as ‘pure’ and high poetry.
Выставочный зал „HAPPY ART MUSEUM” с 5 июля по 5 августа представляет выставку итальянского фотомастера Giordano Morganti „PH FRANKENSTEIN”.
Джордано Морганти ( родился в Милане в 1956 г.) – один из выдающихся мастеров физиогномики. Демиург открытия момента истины, он отображает лица, которые не знают ритуалов или ограничений норм поведения, оставив в воздухе вопрос о том, что же на самом деле значит «нормально».
Тема Франкенштейна – искуственно созданное уродство или крик о естественном стремлении к прекрасному, которое хрупко и в тоже время страстно, наивно и агрессивно, вежливо и бесстыдно одновременно ?
Эти лица в интепретации Морганти кажутся бессмертными, настоящими, а зритель чувствует себя как аморальный, корумпированный и слепой; кто такой «монстр», что такое «святыня» и кем являешся ты сам ?
Джордано признаётся, что работая с людьми, которые объединены в образе Франкенштейна была создана некая общность, доверие и естественность отношений, это были «приятные встречи», но проблему создавали «остальные, особенно координаторы, помошники, «нормальность» которых пугает своей прозаичностью и заставляет чувствовать отвращение от встречи ».
Тело, ум, душа объединяются в лице и трагедия распространяется от конкретного лица через рефлексию зрителя на общество, на нашу мораль и способность сохранять здоровое сознание.
«Моя работа – это своего рода Троянский конь через которого, используя эстетику, как исходный пункт, я передал социальное послание.»
Знаменитый художественный критик Vittorio Sgarbi трактует работы Джордано Морганти как книги, которые следует читать, другие видят в них поэзию «чистого искуства».
Выставочный зал
„HAPPY ART MUSEUM”
Dzirnavu iela 67, Rīga,
„Galleria Riga”,5 этаж
Контакты : +37129177748
+37129595885
Interview.
1-Marco Tagliafierro-Your photography is both documentation and vision. The observer is not confronted with either a socio-ethnographic medley or the outcome of a taxonomic study but rather the momentary vision of a precise existence, chosen from among numerous others. How do you manage to achieve a balance between these direct opposites?
1-Giordano Morganti- I live precipitately. I am always in search of an empty space to frequent without presuming that I am capable of filling it and I’m fully convinced that we are the exact other half not just of many other living creatures but an equal number of dead beings. We hover like the black abbot but we’ve always existed amid a wonderful fairy tale, thus primordial creatures. If I were to report on these “elves” without a visionary spirit I would be irreverent towards all things created which have granted me the gift of being here. The balance is my tribute to life.
2-MT-I find that your work is directed towards the delicate balance between the ponderable and the imponderable, fragility and strength, brilliant outbursts and subversive murmurings. In your opinion, are these swings between extreme opposites an intrinsic part of the human character?
2-GM- Mankind is unfamiliar to me, if it weren’t for those few aspects which are probably a kind of mirror for me. Narcissism derived from the contemplation of others is particularly exciting because of the immense ambiguity which arises and I naturally confront intellectual ambiguity. It’s hardly a coincidence that my first “spurt” of enquiry dealt with the theme of ambiguity as internal and external cleansing.
3-MT- Do you get involved in what you choose to photograph and the
surrounding circumstances? I don’t mean culturally but physically, is your presence tangible in your photographs?
3-GM- I am the physicality of the ideas I conceive which, when materialized, enter into contact with the mind.
4-MT-Do you ever wonder what impact your presence made on places where you have taken photos? About the posture you assumed and for how long, the interaction between your body and the environment, people and objects, their weight and physical encumbrance.
4-GM-I expect that my presence isn’t particularly welcome in such places. Let me explain. The people whom I portray feel as though I am an integral part of them and with a few ideas it is easy to fraternize. The trouble is all the rest, particularly with the coordinators and assistants whom I can’t bear. Their normality scares me and their thoughts are so basic and prosaic: you know, with the “guests” it’s an agreeable meeting, and with the others it’s a disagreeable encounter. This happens above all in the P.Hs; fortunately, I’ve met wonderful directors where I’ve worked who both understood and supported me, otherwise………. My pace is rapid, fast and instantaneous but my projects can span anything from five to thirty years and whether they’re contemporaneous matters little to me. There is nothing more contemporaneous than not to be and let me say that in thirty years I’ve heard talk repeatedly of the quintessence of the contemporaneous. Instead I’m interested in duration, in permanence and I believe that time tells, that greatness can be measured by the degree of institutionalisation, that this is what matters rather than the transitory. Objects are prostheses of the human species and pertain to man as vibrators do to sex, however, they do have an odd characteristic: they never run out!
5-MT- Your photos are carefully studied and excavated in their visual significance and their reality. When “life” isn’t represented by the presence of humans it is evoked by the intensity of the thoughts, sentiments, by the expressive strength which emerges from the images.
5-GM- More than contemplated my photos are contemplative; I take them spontaneously, impulsively, with a score from which, however one is eager to quickly rid himself. I don’t particularly like to see them again, in fact once I’ve contact printed them I abandon them in drawers and I relax by thinking up new exploits. Perhaps I fall in love and once in a while I come to grips with my social discomfort and I perceive a fine thread throughout my sentiments, very subtle but polyphonic and these instinctive feelings fill me with the desire to venture beyond in the belief that there are no boundaries besides those which we create around us in order to give ourselves a definition.
6-MT-Your photography also presents reality as it really is with its faults and weaknesses naturally interpreted and filtered by the photographer and artist who analyses it and its geometry, its light, and its frequently contorted equilibrium with keen observation. Have you ever succumbed to the lure of sensationalism or been tempted by the glamour which these days characterises much of the “wonderful photography” with which we are presented?
6-GM-I’ve never thought of God as being either beautiful or ugly, he’s God and that’s it. I wouldn’t even dare to try and understand the reasons for certain aesthetic qualities, I wouldn’t want to dedicate a single moment to certain forms of weakness which lurking behind the façade of glamour conceal utter emptiness. These “added qualities” have stretched this noble and singular art.
7-MT- When you film interior spaces where there are no humans you outline details which carry traces of the human presence. You often work in black and white; don’t you think that colour is more effective in preserving the distinctive mark of the human?
7-GM- Colour represents the human in his awareness, black and white are his strength and virtue.
8-MT- Your work presents a panorama which, through its complexity, is meant to
incite reflection and meditation on the experience lived in those spaces, is that
right?
8-GM-Spatiality has itself a background, often free of emotiveness, which has made it the icon of its own destiny. A precise question arises from my bond with the spatial directed towards the most profound imprint of all in the time span conceded by the place. I bow and seek that privileged imprint, which like Gioconda smiles upon us timelessly.
She is forever, this is space.
9-MT- In some cases, such as in the shots taken in psychiatric hospitals, it appears that you intend to create a sharp contrast between the magnanimous context ( illness and hospitals, in general) and the local stereotype ( the provincial and lay perception of insanity).
9-GM- My photographs speak a difficult language, they always maintain respect for others but are far removed from certain routes… I don’t search out the main thoroughfare where the lights are brighter and I don’t indulge the attitude that one must be “everywhere, and for all the seasons”. I work with a wildly beating heart and a mind that listens attentively.
10-MT- Is there an underlying sensitivity to capturing people in all their vulnerability, fragility and uncertainties?
10-GM-I am a researcher who, like the scientist, delves into deep and cold waters where the concept “social” takes on a precise meaning; at times I stretch out my hand but nobody grasps it, at times I shiver because one cannot live only in the dark, sometimes I think about how all artists want to be social, sometimes I think that I would prefer not to be that way but social, as far as I’m concerned, isn’t my choice but my destiny and should I perhaps question this state of belonging?
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