JACOPO BENASSI. Crack
LARRY FINK. Unbridled Curiosity
curated by Walter Guadagnini
The first appointment with CAMERA DOPPIA is an anthological show of Larry Fink (Brooklyn, New York, 1941), Unbridled Curiosity, and the project by Jacopo Benassi (La Spezia, 1970) titled Crack. The exhibitions present various common aspects, both from a thematic point of view and a specifically photographic one: the artists, in fact, use only black and white and make use of the flash to focus attention on the subject matter, thereby highlighting atmosphere, form and contents.
In the anthological show by the American photographer Larry Fink, more than 90 images are featured, produced since the 1960s, and which will be on display in the first five rooms of CAMERA. The selection, in black and white and of great aesthetic potency, aims to highlight those links between people and between people and places that Fink, throughout his career, has managed to capture with a watchful eye and his ‘unbridled curiosity’, blending into contexts, stealing moments of intimacy and highlighting the very soul of the subjects portrayed. The major civil rights battles, the exclusive parties staged in Hollywood and major museums, rural life, boxing gyms: nothing escapes Fink’s lens. "My life is a cascade of empathic revelations – comments Larry Fink. A life spent trying to build bridges between classes, the trials, the pleasures and the fears of pain. A life spent accumulating images that mark a sense of sensual and social marvel.This show is a disjointed journey through many experiences and sensations. It’s a testimony of unbridled curiosity."
In the Sala Grande and the long corridor at CAMERA, on the other hand, the 60 images that make up Crack will be displayed, a project that Jacopo Benassi carried out around his reflection on the relationship between the classical and the contemporary bodies and links that individuals establish with people and environments. Crack, comments Walter Guadagnini, “is an atlas of the body, elaborated amid the extremes of ancient and contemporary plastic physical flagrance.” The result is the underlining not only of the effects of decadence lying in wait for the human body just as much as for the sculpted one, but perhaps even more so of the scope for the recomposition of fractures, breakage and the charm that even these elements may take on in our reading of the body and the form. This outlook is also underlined by the framing of the single works and the whole, surprising display of the exhibition, which are an integral part of the exhibition project and endow the images with a further vital tension.
“The two exhibitions,” comments Walter Guadagnini, curator of the exhibition and director of CAMERA, “denote CAMERA’s ongoing attention to contemporary artistic production and its capacity to look both to the Italian scene and the international stage.”