Item description for Lost in seeing: Italy, thirty years of visions by Alessandra Mauro Francine Prose...
Lost in seeing covers a thirty-year journey through the changes of the Italian scene.
Mimmo Jodice, one of the greatest Italian photographers, offers unexpected visions and unseen things, famous places and territories of the imagination. He crossed Italy from the north to the south in his modern Grand Tour, drawing a comprehensive portrait of striking images. Jodice's magical realism leads us through the Mediterranean islands, the Italian countryside, the restoration of St. Peter's church in Rome, the decommissioning of Venice-Marghera, the remains of Pompeii, and the urban transformations and the sites of archaeology.
Seen through his lens, Italy takes on a whole new aspect; even its landmarks vibrate with movement and possibility.
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Est. Packaging Dimensions: Length: 11.3" Width: 10.5" Height: 1.4" Weight: 4.25 lbs.
Release Date Apr 1, 2008
ISBN 8869650820 ISBN13 9788869650826
Reviews - What do customers think about Lost in seeing: Italy, thirty years of visions?
Beautiful monograph of a "quiet" artist Jul 28, 2008
This is a beautiful and beautifully produced monograph (printed in Italy) of an artist who has gradually grown in stature and now is one of the grand old men of Italian photography. Jodice is 73 and this collection of pictures of his native country spanning his whole career strikes us as a valediction. But maybe this melancholy ambience has been part and parcel of Jodice's universe all along. Indeed, as Alessandra Mauro remarks in her short introductory notes, this is a "man who is well aware that just beyond the vision of perfection, the play of lights which exalt and enliven a classicism that seemed long since gone, there lies an invasive and infectious chaos that could sweep everything away in a whirl of oblivion."
Indeed, it is the tension between the deceptive solidity and aloofness of human architecture and classical vestiges, and, on the other hand, the usually subdued violence inherent in decay that makes Jodice's work so compelling. Occasionally, the violence spills over into the theatrical and turns into unabashed gruesomeness: the mutilated, blinded facies of antique sculptures, the catacombs brimming with skulls and skeletons, the hideous and bloody crimes exposed in baroque paintings. All of this is tentatively kept in check within the confines of the (very often) square format and rigorous, simple compositions.
As said, this book encompasses the whole of Jodice's career and - despite the variety of subject matter - betrays an incredibly consistent photographic vision. There are only very few images in this book that strike me as slightly out of place in this superb collection (for example the Bolzano image on p. 157 seems to miss the deftness and depth that even his most straightforward pictures seem to possess).
The book is loosely conceived as a series of six freely associative dreamlike (sometimes nightmarish) excursions through his work. No attempt has been made to impose a geographical or chronological logic. Each excursion is prefaced by a short Jodice quote. Personally I have yet to intuit the deeper logic that these six trajectories bring to the book. It would have been useful to have a section at the back where all of the images would have been arranged in thumbnail format so as to be able to break free of the sequential logic imposed by the pages with individual pictures.
In none of the other monographs I have in my collection, Jodice appears as a commentator. "Lost in seeing" pierces this aura of privacy with a condensed but useful biographical account compiled by Roberta Valtorta.