A visual narrative - powerful - that develops from the ambiguity of the title. In Italian, the term “posto di lavoro” indicates a stable occupation, it also designates, in a more literal way, the physical place where this occupation takes place.
On the threshold between these two meanings rests the selection of the twelve photographs by Massimo Siragusa exhibited until 23 July 2021 at the Other Size Gallery in Milan. The effect is alienating: workplaces are not just 'containers', but spaces in which the aesthetic and architectural dimensions play a fundamental role in the construction of society and individual identity.
From the laboratory of the Teatro alla Scala to the spaces of the Circolo Volta in Milan, from the halls of the National Central Library of Rome to the pavilions of the Rimini Fair, from the canteen of the Training Command and Application School of the Turin Army to the industrial hangars of Fincantieri . These are some of the workplaces on display.
The Massimo Siragusa. Posti di lavoro exhibition opens up a reflection on the very topical issue of the social value of workplaces understood as spaces for relationships, creativity, and training, not just productivity.
In the exhibition itinerary, always following the logic of double and estrangement, the twelve works are presented in six diptychs combined by analogy or contrast, with respect to lines and architectural elements, lights and colors, but also to their intended uses. In a carousel of visual stresses.
Taken between 2005 and 2017, the nucleus of works on display comes from a survey carried out in the archive of the photographer with a contemporary look, who could not ignore the reflections on the theme of work that the Covid-19 emergency generated in these months: the places photographed by Siragusa, despite being used to accommodate the swarming work of dozens of people, are characterized by the absence of the human figure.
What prevails is the investigation of beauty and the geometries that design the spaces and buildings. Yet, the work is potentially evoked, the impression of the action of those who live those places every day is palpable.
The absence of the human figure, of those who go to the workplace every day in those places, in Massimo Siragusa's images is a choice of style: in the eyes of those who look at them today, it irremediably evokes an imaginary linked to pandemic news.