Il sogno di George/George’s Dream
Opening: Thursday, January 27th, 2022 at 7 PM.
from Friday, January 28th to March 12th, 2022.
From Tuesday to Saturday, from 3 PM to 7 PM.
Curated by Glenda Cinquegrana
“Leave the dreamers alone, they are people made of coal for old steam trains, leave them alone in the small houses they inhabit like pockets, filled with thorns and blackberries.”
Glenda Cinquegrana Art Consulting is glad to present ““Il sogno di George/George’s Dream”, the first solo show the gallery dedicates to mid-career Italian photographer Giorgio Galimberti.
The title of the show “Il sogno di George/George’s Dream”, refers to some peculiarities of the photographing practice used by Galimberti. As if he looks at the world with childlike wonder and naïveté, Galimberti’s photography is the fruit of a visual operation of constant disorientation: the reality from which he draws is transfigured in order to become surreality, or rather a dream scenario. Giorgio’s world is inhabited by men, women, and childlike figures who walk through urban territories with the simplicity and candor needed to look each time at daily life with new eyes. The photographer identifies completely with the protagonists of his images, which are nothing but an extension of himself, and therefore Giorgio becomes George, in the same way, Lewis Carroll’s Alice dives into the reality of the mirror.
Galimberti’s photography celebrates the linguistic sharpness of black and white as a tool of visual simplification and creates scenes that are the result of calculated ambiguity. The shot where a girl walks, as on a tightrope, on the peaks of the skyscrapers in New York, is the fruit of a perspective trick; a man, reduced to the dimensions of a dwarf, moves with, in the background, a landscape with flowers and wind turbines in which natural and artificial elements coexist (“Capracotta”, 2020). Like a tightrope walker, Giorgio moves skillfully in this transfigured reality, playing with dexterity with the elements of vision.
Imbued with the influence of photography masters such as Andrè Kértesz and Mario Giacomelli, Galimberti’s black and white isn’t just a tool of formal synthesis, but, first and foremost, a catalyst for poetry: the image reduced to the state of total black can gather and amplify emotions. Among his most beautiful shots, we must mention the one where a man lost in the porticoes of a De Chirico-like building conveys the disorientation of a child who strives to become an adult or the loneliness of an individual before a world too big for them (“Maddaloni”, 2020). The picture that made Giorgio famous is the one where a girl is imprisoned in an iron whale (“Camogli #01″, 2017), the perfect representation of the restlessness and imprisonment in the parallel reality beyond the “mirror”.