The exhibition Oltre il sipario opens in Bologna until the end of August, a new photographic production by the master Nino Migliori. The foyer and portico of the Municipal Theater and the cloister of the Archiginnasio host the unpublished works in an exhibition curated by Denis Curti, born from an idea of Applied, a reality that applies the most advanced technologies to the world of industrial processes, proposing radically solutions innovative, in collaboration with the Teatro Comunale di Bologna and the Fondazione Nino Migliori. The exhibition is accompanied by the catalog edited by Denis Curti for Postcart Edizioni.
60 black and white images, divided into two paths that interact with each other and represent the opposite perspectives used by Miglior in his photographic story: from top to bottom and from bottom to top. An effective play of light returns the author's sensations: in particular, the staging of the Archiginnasio which has architectural structures as its subject and brings back the same sense of vertigo that Best felt after climbing in the most inaccessible places of the theater. While the one at the Theater, which features singers, musicians, make-up artists, hairdressers, toolmakers, dance troupes, immerses the viewer in the life behind the scenes.
Once again it seems that the author's photography is the result of a staging. It is as if reality were never enough for him and hence the need to build other worlds to be traveled in maximum freedom. Moreover, Best has taught that his images can convey ideas, feelings and precise points of view that have little to do with reality. Its language is narration, transfiguration and interpretation and the concept of truth remains a distant utopia that has long ceased to be the real reason for its productions.
His photographic production moves transversally with respect to the different languages of contemporary art. In this new narrative, the Emilian master condenses the history of photography and more than 70 years of career. Gestures, experimentation, conceptualism, performance and narration are just some of the characteristics of his language, which are also found in this new production, a sign of a design coherence that is difficult to trace in the path of Italian authorial photography.
Nino Migliori, as the curator Denis Curti underlines: "He inserts a precise liturgy in his narration: he draws experiences from ancient rituals and from all those situations that precede the show." These photographs grant the privilege of a continuous backstage and turn on the spotlight where it is often forbidden to enter. And this is how the theater seems to be transformed into the large panoramas dedicated to the ancient mechanism that moves the stage or when Miglior takes the scene from above.