[et_pb_section fb_built=”1″ _builder_version=”4.21.0″ _module_preset=”default” locked=”off” collapsed=”off” global_colors_info=”{}”][et_pb_row admin_label=”Riga” _builder_version=”4.21.0″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider show_divider=”off” _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.21.0″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text admin_label=”Fotografia” _builder_version=”4.22.1″ _module_preset=”default” header_font=”Poppins||||||||” header_text_align=”left” header_font_size=”40px” locked=”off” global_colors_info=”{}”]<\/p>\n
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Piattella was particularly drawn to photography, which he pursued throughout his artistic journey. Among his most significant works is the extensive photographic reportage that, in 1982, was largely brought together in the volume devoted to Gubbio, his sacred city (ikuvium, iguvio, julia iguvia, inginum, bobio, agobbio, eugubium, ugubio, gubbio<\/em>, Foligno \u2013 Perugia, Editoriale Umbria, 1982). These rigorously black-and-white photographs\u2014printed and reprinted in his studio together with his son Augusto until the desired tonal gradations were achieved\u2014frame this austere city of stone under the most varied lighting conditions, seeking to capture every relief, every \u201cpulse\u201d of those largely medieval masonry surfaces. An endless sequence of images that he \u201cweaves together\u201d through his camera and that remains an outstanding, unsurpassed visual narrative of the city.<\/p>\n Piattella\u2019s images, Roberto Abbondanza notes in his introduction to the volume, possess \u201ca dry, direct, documentary quality; they are the expression of precise interpretative intuitions concerning stone and walls, in which there emerges the silent yet highly eloquent language that narrates the history of the city through the physical evidence of structures created at different times and which have become far more integrated than superimposed\u201d.<\/p>\n Enrico Crispolti, in his text published in the same volume, specifies that what matters here is \u201cthe fabric of the urban artefact, in its material and object-like presence. This interpretation in fact analyses it with great attention to the themes and modes of perception. The constructive themes of the city as object, and the modes of its articulated perception, such as the primary material\u2014stone itself\u2014and spaces. Attention is, in any case, constantly, explicitly or at least implicitly directed towards the environmental whole [..] And it is a dynamic attention. Because the book unfolds as though in a narrative rhythm, which is the account of the analytical perception of the urban environment as object, in its very occurrence [..] This Gubbio is not, after all, a photographic urban theatre [..] but rather the object of a painstaking, meticulous, at times almost classificatory photographic analysis of the environmental components of the urban theatre, of precisely that artificial suspended structure that is Gubbio\u2019s urban theatre, extending as far as the unveiling of hidden depths through the exploration of the underground, brought to light almost like a repression emerging from the unconscious [\u2026] A way, precisely, of analytically breaking down Gubbio\u2019s urban theatre [\u2026] An interpretation, it should be understood, that is not merely a guide, but a continuous stimulus to discovery: of particular signs, but also of entire complexes [\u2026] And the photographic eye [of Oscar Piattella] thus reveals an urban microcosm in all its stratifications of signs and memory\u201d.<\/p>\n [\/et_pb_text][et_pb_gallery gallery_ids=”2692,2693,2678,2679,2680,2681,2682,2683,2684,2685,2686,2687,2688,2689,2690,2691,2694,2695,2696,2697,2698,2709,2699,2703,2700,2702,2701,2704,2705,2706,2707,2708″ posts_number=”16″ orientation=”portrait” show_title_and_caption=”off” admin_label=”Galleria Ikuvium” _builder_version=”4.22.1″ _module_preset=”default” hover_enabled=”0″ locked=”off” global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_gallery gallery_ids=”2672,2673,2674,2675,2676,2677″ orientation=”portrait” show_title_and_caption=”off” admin_label=”Galleria Palazzo Ducale” _builder_version=”4.22.1″ _module_preset=”default” locked=”off” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" PhotographyPiattella was particularly drawn to photography, which he pursued throughout his artistic journey. Among his most significant works is the extensive photographic reportage that, in 1982, was largely brought together in the volume devoted to Gubbio, his sacred city (ikuvium, iguvio, julia iguvia, inginum, bobio, agobbio, eugubium, ugubio, gubbio, Foligno \u2013 Perugia, Editoriale Umbria, 1982). 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