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Carlo Scarpa in Photography - Descriptions of architecture (1950-2004)
Foto di Stefan Buzas Padiglione del Veneto "Il senso del colore e il dominio delle acque" all’esposizione ITALIA ’61 di Torino, 1961 © Fototeca Carlo Scarpa

Carlo Scarpa in Photography - Descriptions of architecture (1950-2004)

La mostra propone una lettura dell'opera di Carlo Scarpa (1906 – 1978)

Aldo Ballo » Gabriele Basilico » Gianni Berengo Gardin » Daniel Boudinet » Stefan Buzas » Luigi Ghirri » Guido Guidi » Pino Guidolotti » Ferruccio Leiss » Paolo Monti » Fulvio Roiter » & others

Exhibition: – 9 Jan 2005

Museo Palladio/Palazzo Barbaran da Porto

Contrà Porti, 11



Tue-Sun 10-18

The exhibition offers a reading of the work of Carlo Scarpa (1906-78) through the different ‘eyes’ of European photographers who have measured themselves with representations of the Venetian architect’s masterpieces since the 1950s. Carlo Scarpa was perhaps the last exponent of the generation of draughtsmen architects, who relied on pencil and paint to communicate their work. Scarpa’s mistrust of the ability of photographic interpretation to compete with the architect’s spatial conceptions is well-known. It is equally true, however, that the masterful control of light, the use of colour, the contrast of different materials and the play of reflections on surfaces have made Scarpa’s architecture possibly the most photographed subjects of the twentieth century. The exhibition presents for the first time to the wider public unpublished works by extraordinary interpreters of contemporary architectural photography, including Gianni Berengo Gardin, Aldo Ballo, Gabriele Basilico, Daniel Boudinet, Stefan Buzas, Guido Guidi, Luigi Ghirri, Pino Guidolotti, Ferruccio Leiss, Paolo Monti and Fulvio Roiter. Their artistic readings create a visual journey around some of Carlo Scarpa’s key works, contrasting numerous points of view made at different times by almost 30 different photographers: from genuine icons such as the Brion tomb at S. Vito d’Altivole and the Gipsoteca Canoviana in Possagno, to forgotten works like the Venetian houses of the 1940s. The multivision with soundtrack entitled ‘spazio, tempo e luce’ centred on the Castelvecchio Museum will also be presented. This was commissioned by Licisco Magagnato from the Dutch photographer-designer Arno Hammacher between 1981 and 1982 and has now been ‘translated’ by the author himself into the new digital technology. Carlo Scarpa’s ‘eyes’ will also be present: small masterpieces of drawing, masterly perspectives sketched in the margins of the working papers. The Venetian maestro used these to calibrate the image of the architecture being composed on the page. These extraordinary sketches are real ‘photographs in pencil’ which record the architect’s point of view with regard to the ideal user. Photographs and drawings will be on public display in a especially designed staging by Umberto Riva, one of the most sensitive of the ideal heirs to Carlo Scarpa’s work. The exhibition is the first event in the FOTOTECA CARLO SCARPA project, promoted by the Regione del Veneto as part of the Joint State-Regional Committee’s programme to foster appreciation of Carlo Scarpa’s work, and is being staged by the C.I.S.A. Andrea Palladio. The project is aimed at creating an iconographic cognitive system for the research, conservation and appreciation of the great architect’s work. The FOTOTECA CARLO SCARPA is collecting all the photographic documentation on Carlo Scarpa and will make it available on the web. It will consist of historic photos and of those resulting from the systematic campaign currently being undertaken to photograph all the built works. The exhibition and the FOTOTECA CARLO SCARPA are directed by Italo Zannier and Guido Beltramini. Zannier is a leading photography expert at an international level and holds the history of photography chair at Venice University. He is a member of the Sociètè Europeènne d'Histoire de la Photographie, has directed many international photography exhibitions, written numerous publications and is scientific editor of the ‘Fotologia’ series and of ‘Fotostorica’ magazine. Zannier had a long association with Carlo Scarpa. He documented some of his works in the years when he was a professional photographer and became one of his colleagues at the Istituto Universitario di Architettura di Venezia. Guido Beltramini, director of the Centro Internazionale di Studi di Architettura Andrea Palladio, directed the exhibitions Carlo Scarpa. Mostre e Musei (1944-1976) (Verona, Castelvecchio Museum) and Carlo Scarpa. Case e paesaggi (1972-1978) (Vicenza, Palazzo Barbaran da Porto) in 2000 with Paola Marini and Kurt Foster. ________________________ Nella mostra sono esposte circa 150 fotografie di ventinove interpreti di fama nazionale e internazionale della fotografia europea di architettura, che si sono confrontati dal 1950 sino ad oggi con le realizzazioni di Carlo Scarpa. Accanto ad esse sono presenti anche sedici disegni autografi di Carlo Scarpa, che restituiscono i modi in cui il maestro veneziano prefigurava l’immagine dell’architettura che andava componendo sul foglio. Chiude il percorso espositivo la riedizione della famosa multivisione con sonoro "spazio, tempo e luce" con cui il fotografo olandese Arno Hammacher ha indagato la luce e gli spazi di Castelvecchio. Fotografie, disegni e multivisione sono esposti al pubblico con un allestimento studiato per l'occasione da Umberto Riva, uno tra gli interpreti più sensibili dell’eredità di Carlo Scarpa.

Carlo Scarpa in Photography - Descriptions of architecture (1950-2004)
Fotografia di Gianni Berengo Gardin Tomba Brion a San Vito d’Altivole, 1972 © Gianni Berengo Gardin
Carlo Scarpa in Photography - Descriptions of architecture (1950-2004)
Fotografia di Guido Guidi Gipsoteca Canoviana a Possagno, 1996 © Guido Guidi
Carlo Scarpa in Photography - Descriptions of architecture (1950-2004)
Fotografia di Ferruccio Leiss Padiglione del Libro ai Giardini della Biennale di Venezia, 1950 © Archivio della Galleria del Cavallino, Venezia