In Giacomelli, everything is black or white. There is no middle ground, and it is a virtue. Everything is either black or white, but this is not the world it is, but images. Photography dealing with the world as whole. However, this relationship is trivial. If there is something that Giacomelli photographs show us is that talk about the world is trivial, that is also essential. The world is not black or white, but photography, yes. It is a statement about the photograph, not the world. In the photograph, whatever might be said the author, the world is still remote, or even not at all: missing - re-measure by photography. This gives some reason when they say there is not one world but many worlds, many worlds, and that are made. The world does not exist. It is not black or white. There is no realism. Just see photograhs Mario Giacomelli definitively to be convinced.
Nothing is as powerful as its Storie terra: History of the Earth (1960-1980) , whose hanging here allows an overall view, a synoptic view of these views dives from sky to earth. Green, brown, their nuances and the other colors are magnified by the simple dialogue between black and white. The scenery, by the perception that its geometry is given, sets its geography and history. Single trees or small groups in the middle of plowed fields, signs and traces of nature as she is domesticated, the stories become stories of land men who worked. It is here that the photograph is the strongest because the subject is everywhere present while being absent.
And then we see differently Io non ho series mani che mi volto accarezzino it: I have no hands to caress my face (1961-1963) because it shows beyond the priests who dance, play, smoke, live, absence, solitude. The absence of God or, perhaps, a woman, perhaps. But is not this the same thing?
Scanno in the series (1957-1959) There, on the contrary, an apparition: the child that looks like an angel or a ghost, he looks more dead than old black and he looks walking hands firmly in the pockets the photographer the objective. There should be a clairvoyant to know what he tells us, if only it has something to say. Regardless of his word. He will be jellyfish.
It's a different look but we freezes as well as that of the disabled in the series Lourdes (1957) . Here is the black holes in the face, mouth and eyes. Black holes that appear grouffres bottomless. It is both color and pain - all the colors of the world and all the sorrows of the world are engulfed. Three circles in a triangle above the disjointed members, arms and feet - especially the feet. Especially the feet that intersect at the option of involuntary movements of the wheelchair. Especially the feet - tasks purely black. The black color and swallows explains better than any light in the world's pain. Black swallow all the colors of the world and shows all the sorrows of the world. There, in the eyes and feet, on a wheelchair at Lourdes, where God is conspicuously absent.
Everything is either black or white there is no middleman. Everything is either black or white. There is no subject. The subject is the absence.
Photo: Mario Giacomelli, Storie di Terra (Earth Stories ), 1970. silver gelatin print. © Courtesy Archivo Mario Giacomelli, Senigallia. Collection Maison Europeenne de la Photographie, Paris.
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