Photography and experimentation in the shots of a decade tell the philosophy of art of the Bolognese photographer

The title of this exhibition, Nino Migliori 70, is a manifesto. It recounts a decade, of course, that of the 70s of the last century, but also 70 years of a career, or rather of incessant experimentation with the photographic language through the eye and hands of an artist, NinoBest.

The choice to select photos from just one decade by the curator Ascanio Kurkumelis for the exhibition set up in collaboration with the Nino Migliori Foundation at the Galleria M77 (international representative of Migliori since 2017) concerns the multifaceted production of those years.

It was precisely in the 1970s that Migliori expressed his reflections on photography understood as a work of art: that language was his personal alphabet for expressing his own vision of the world, describing human relationships, narrating spaces and describe the (extraordinary) power of the image.

And in fact it happens like this: the exhibition is an immersion in the universe of Nino Migliori and in an era that turns out to be extremely creative. It begins with a section dedicated to nature, in which leaves portrayed in large dimensions (Herbarium) interact with vegetables packaged in supermarket trays, and then moves on to urban life and to the passing of time (with Torn Walls and Posters), in its continuous change, and arriving at the most experimental part of the exhibition itinerary.

The protagonist then is light, the magical ingredient of photography, as essential in determining its forms, but also in making perception something to play with. The works are those of the Lucigrafie and Poligrammas series, to achieve a conceptual version of this expressive form with In immagin abile,Significazione and SuPerDaConwhich also opens up to performative aspects.

Finally, society could not fail to fall under the lens of Migliori who highlights its tics and behavioral codes in works such as Kitsch Sex and TV Sequences.

Going into more detail about this journey into the image and photographic imagination, we come across almost pictorial works in extreme black and white, but also macro photographs of details of the human body, wrapped in a red t-shirt a little tight that almost makes you perceive the skin underneath or tight inside optical trousers, or details of the hands so expressive that they become speaking (the Atlas of Signs is also his).

The series of portraits of a young Dario Fo could not be missing, printed as if they were specimens, but in large dimensions, it was a series of artistic experiments between art, painting and sculpture like a sort of leporello in human size.

That accordion book shape often used by artists as an "unrollable" book takes up space in the gallery in a sort of screen that offers photographic and visual games to enter or to be mirrored in, metaphorically, in a game between author, work and public. There are many surprises, including some new ones to discover.

Nino Migliori 70, M77 gallery , Milan, until September 21