From 5th February to 23rd March 2016,
5/25, Ulitsa Vozdvizhenka, 119019, Moscow, Russia
The exhibition is organized and produced in collaboration with the Italian Cultural Institute in Moscow.
11th International Photobiennale Moscow
From 5th February in the halls (Anfilada) the Schusev State Museum of Architecture in Moscow will be open the exhibition End/Lessness of the photographic works by Addo Lodovico Trinci. The exhibition, organized and produced by the Italian Cultural Institute in Moscow and by Erica Ravenna Fiorentini Arte Contemporanea in Rome, will be open until 23 March. The exhibition, curated by Adriana Polveroni, is part of the official programme of the 11th International Photobiennale in Moscow organized by the MAMM/ Moscow House of Photography.
The project End/Lessness is formed by three series of big and medium photographs on the principal themes that mark the artist’s production: a series regards shots on architectural details dominated by the rigour of enigmatic geometries; another focuses on landscapes inhabited by anonymous presences; the third series, a sort of “homage to Morandi” is formed by still life, inspired by Morandi’s home in Grizzana.
Printed on sandpaper, a peculiar and new support for photographic prints, enhances the pictorial value, the three series have in common an opaque and still suspended atmosphere that evokes suggestion of metaphysics.
Great attention is given to light and space that accentuate the tactility of the support reminding us of the Trinci’s sculptures.
Addo Trinci is an artist that uses different means, from sculpture to photography and works mainly outside the conventional circuits, intervening with installations, some of which permanent, in public and private locations.
Trinci thus has an eye that eliminates all that is superfluous and brings up the essential with the capacity of highlighting what is impalpable and making it present and active.
“Addo Lodovico Trinci proposes a “ suspended architecture”, almost a visual short-circuit as regards the usual reading we give to architectural design and yet gifted with a very strong attractiveness, strangely symmetric in its being anti-narrative. And the suspension, in his own words, arises because those images hint to void. Not only for the absence of the natural addressees of the buildings he portrays and which appear naked thus doubly unfunctional. And not only graphically for that sense of confusion induced by the abstractedness of the lines, but for an essential idea, proper of Trinci, of what an image is and implies” (Adriana Polveroni).
Addo Lodovico Trinci was born in 1956 in Pistoia, where he lives and works.
In 1992 he participates at the IX edition of the Kassel Documenta, drawing the attention of the international scene. In 1999 he participates at the exhibition Extension, at the Het Domein Museum in Sittard, Holland. That same year, together with the artist from Florence Daniela De Lorenzo he gives life to an installation that inaugurates the activity of the space/static in Turin. In 2005 he participates to (In)Visibile (In)Corporeo, curated by Pier Luigi Tazzi, MAN - Museo d’Arte di Nuoro; in 2006 to Misure del tempo, curated by Giovanna Uzzani, Mac,n - Museo d’Arte Contemporanea e del Novecento, Monsummano Terme (PT). Among the recent exhibitions he took part in mention must be made of the following: the collective exhibition Le luci di dentro, Erica Ravenna Fiorentini Arte Contemporanea, Rome, curated by Ludovico Pratesi, 2011; Galleria Nicola Ricci, Carrara, curated by Nicola Davide Angerame, 2012; Oltre il giardino, Palazzo Fabroni, Pistoia, curated by Ludovico Pratesi, 2013; Addo Trinci’s personal exhibition, Fuori dal tempo, curated by Ludovico Pratesi, Erica Ravenna Fiorentini Arte Contemporanea, Rome, 2013.
Adriana Polveroni is a journalist, essayist and independent curator. She has taken care of photography and landscape of which she wrote “Arte e Paesaggio” for the Enciclopedia Treccani XXI Secolo. She has written several essays in catalogues and volumes of collections. Among her publications mentioned must be made of the following: “This is contemporary. Come cambiano i musei d’arte contemporanea” (Franco Angeli, 2007), “Lo Sboom” (Silvana editoriale, 2009), “Il piacere dell’arte. Pratica e fenomenologia del collezionismo contemporaneo in Italia (Johan & Levi, 2012). She teaches Museology of the Contemporary at the Academy of Fine arts in Brera, in Milan. Since 2012 she is editorial director of the art review Exibart.