Pino Guidolotti

Luce e Ombre

Drawings 2004 - 2024

With a text by Paolo Mereghetti

May - June 2024

Pino Guidolotti

Luce e Ombre

Drawings 2004 - 2024

With a text by Paolo Mereghetti

May - June 2024

Pino Guidolotti, Untitled, compressed charcoal and acrylic on Fabriano Rusticus paper 200g, 70 x 100 cm, 2004

OPENING HOURS
From May 17 to June 28, 2024
from Wednesdays to Fridays, 3 p.m. – 7 p.m.
Thursdays from 3 p.m. to 9 p.m.
Saturdays by appointment

OPENING
Thursday 16 May from 6 p.m. to 9 p.m., from 7 p.m. at the piano Silvia Giliberto of the Antonia Pozzi Academy, Milan

Free access with Assab One 2024 membership card (€10)

SPECIAL OPENING ON THE OCCASION OF PIANO CITY MILANO
Saturday May 18, from 4 p.m. to 8 p.m.
At 6 p.m. Antonia Pozzi Academy presents Johannes Brahms’ Hungarian Dances, a duet piano concert (Matilda De Angiolini, Alberto Dalgo, Lorena Portalupi, Silvia Giliberto).

For more information write to info@assab-one.org

Almost 10 years after his last solo show in the spaces of Assab One, Pino Guidolotti returns with an exhibition dedicated to his lesser-known production than photography, but one that has always been present in his artistic practice: drawing. A series of new works in charcoal on paper inhabits Studio 3. Large-format drawings flow nonstop on the walls of the room. Pino Guidolotti plays the role of a silent and attentive director, while the images shown appear to be those of some silent film, in black and white. Without ever neglecting his photographic vision, the scenes speak of everyday life, of people walking in an undefined space-time, of empty but set tables, of bars and houses where unknown shadows dwell.
The drawings are the expression of Pino Guidolotti’s most intimate and mostly unpublished artistic research. Those on display at Assab One are snapshots of his life in Salento, the result of his unmistakable perspective in observing and seeing the world, nature and beings around him.

Music program by Antonia Pozzi Academy, Milan

 

La forza del nero by Paolo Mereghetti

“(…) We should then say that black, as the non-colour of painting, is not the opposite of light, but the support of a light other than light (…)”
Alain Badiou, Lo splendore del nero, Edizioni Ponte alle Grazie

In a temporal evolution of artistic expressions, photography fixed more precisely what drawing had approached by successive moments of definition. At least in its original intentions, photography was reality, while drawing was its approximation.
Pino Guidolotti took that path in reverse, moving from photography to drawing. Of course, he continues to walk around with a little camera in his pocket, ready to fix faces and moments that catch his eye, but they almost never become photographic prints, rather he uses them to help his memory guide his hand and his fat, black pencils. Colours are almost banned from his drawings: there is the white of the paper and the black of the drawing. Sometimes even grey, but in the end, it only serves to further emphasise the strength of those blacks that seem wanting to devour the entire surface available.
The reason for these choices can perhaps be seen in the artistic and human “exile” to which Pino has subjected himself in recent years. Photography, the real photography of which Guidolotti had been one of the most sensitive and acute masters, has lost its role and necessity: it has become pure advertising propaganda, pure marketing, eating away those spaces of freedom that were indispensable to Pino, as to true artists. Drawing, freed from any commission other than his own inspiration and passion, gave him back some of the independence that the photography market had cancelled.
In the silence – at least in the mediatic sphere – of “his” Salento, his creative freedom has found the inspiration to express itself, the way to communicate. Once again it is his love and curiosity for people that has guided his photographic eye for years and that here finds a new expressiveness.
If we look at the drawings on display here at Assab One, a selection of his production, we cannot avoid noticing the rigour of the proportions, the compositional elegance, the balance of solids and voids – one would say, better, of blacks and whites – on which his pictorial inventions take shape. The photographer’s eye, trained in proportion and balance, is still wide open. It is there to impose its golden laws. This can be seen in the still lifes where the play of perspective guides the draughtsman’s hand. But then it is the strength of black, “the colour of the soul” as Alain Badiou writes, who is ready to tell us what Pino feels and what drove him towards this path that takes over.
His is an existential choice before being an artistic one. It stands out in those faceless figures that move in some of the drawings, in those human silhouettes that seem to want to break the balance of the setting: a table, a window, a wall are as if they are disfigured by the presences of men without identity, black ghosts of a world that has lost recognisability. It is as if Pino wanted to tell us that something has been lost forever, the bar, the house, the street where his characters move have lost all identity, they are the non-places of a world that is both distant and near: they are mysterious and indistinct but also because they are disturbing and obsessive.
Installed one next to the other as an ideal tape that binds them together in a visual and sentimental journey, Pino Guidolotti’s drawings are a way of telling us about his struggles and his efforts to overcome them and give strength to the need to find a voice that can be heard. This is why one never remains indifferent in front of these works, one does not pass them by as one sometimes does in front of certain purely illustrative paintings, interested perhaps only in the technique employed. Even if they are just “simple” plants – which are not simple after all, with their indistinct identity – we feel that the artist wanted to convey a sense of his own dissatisfaction, of his intolerance for a world that at times seems like a cage capable of imprisoning you without you realising it, and that only the harrowing power of black can remind us of and convey to us.

Paolo Mereghetti

Biografie

Pino Guidolotti (b. Verona, 1947) lives and works in Minervino di Lecce, Apulia. During his career he has collaborated as photograper with major Italian newspapers and publishing houses ranging from fashion, portrait, architecture. He has devoted his attention mainly to art and reproduction of the artistic heritage, also influenced by his long friendship with Ernst H. Gombrich. His works are part of the collections of the MuFoCo Museum of Contemporary Photography, Galleria Civica di Modena and other important institutions.

Monographies
R. Wittkower, Bernini. Lo scultore del Barocco Romano, Milan 1990, London 1997
A. Rosenauer, Donatello. L’opera Completa, Milan, 1993
G. Beltramini, Andrea Palladio: Atlante delle Architetture, Venice, 2000
J. Eskenazi, Indian Stone Sculpture – Acquisitions 2001, London, 2001
G. Beltramini e H.Burns, Le Ville Venete, Venice, 2005
M.A. Avagnina, Il Teatro Olimpico di Vicenza, Venice, 2005
G. Beltramini, Volti di Architetti, Centro Palladio, Vicenza, 2006
D. Gasparotto,I cavalli di Francesco Mochi, 2008

 Solo exhibition (selection)
1974  Pino Guidolotti, Krakow, Poland
1975  Pino Guidolotti, Galleria Il Diaframma, Milan
1975  Photographie Italienne, Chalon sur Saone, France
1975  Pino Guidolotti, Musèe Reattu, Arles, France
1978  Pino Guidolotti, Photographer Gallery, London, U.K.
1984  Pino Guidolotti, Casa del Mantegna, Mantova
1990  Pino Guidolotti, Galleria Il Diaframma, Milan
2001  Memorial E. H. Gombrich, Warburg Institute, London, U.K.
2001  Le ville del Palladio, Centro Palladio, Vicenza
2003  Carlo Scarpa. L’opera, Centro Palladio, Vicenza
2005  Le Ville Venete, Centro Palladio, Vicenza
2006  Volti di Architetti, Centro Palladio, Vicenza
2006  Volti di Architetti, Yellow Fish Gallery, Montreal
2014  Inaugurazione di me stesso, Cinema del Reale, Specchia (LE, Italy)
2015  Pino is Back! Foto e disegni 1970 – 2015, Assab One, Milan
2020  Caos Mobile, Castello Volante di Corigliano D’Otranto (LE, Italy)


Paolo Mereghetti
(b. Milan, 1949) is an Italian journalist and film critic. He is the author of the most famous and widespread Italian-language dictionary of films, Il Mereghetti, which he has edited since 1993. In 2001 he won the Flaiano Prize for film criticism. He currently collaborates with Corriere della Sera, Radiotre and Rai 3.