“The Magic Eye of Carlo Mollino. Photographs 1934-1973″

February 8, 2018

The exhibition traces Carlo Mollino’s entire photographic production, in a display itinerary featuring more than 500 images from the archive of Turin Polytechnic. This initiative follows on from the exhibition ‘Carlo Mollino. In viaggio’, held at CAMERA in spring 2016, testifying to the strengthening of the bonds between the Polytechnic and CAMERA, also thanks to a collaboration agreement signed in April last year.

 

Carlo Mollino e Riccardo Moncalvo - La Società Ippica Torinese da corso Dante, fotomontaggio, 1941. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

Carlo Mollino e Riccardo Moncalvo – La Società Ippica Torinese da corso Dante, fotomontaggio, 1941. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

 

In his extraordinary and polymorphous figure, Carlo Mollino condenses both these aspects: Turinese by birth and always active in the Piedmontese capital, over recent decades, Mollino has become a figure appreciated far beyond the city and national borders, an eccentric maestro of 20th-century culture.”


 

Practical information

“The Magic Eye of Carlo Mollino. Photographs 1934-1973″
18 January – 13 May, 2018
CAMERA – Centro Italiano per la Fotografia
Via delle Rosine 18, 10123, Torino
Italy

 


Among the best known and most celebrated architects of the 20th century, Carlo Mollino always had a special  place for photography, using it both as an expressive medium and a fundamental tool of documentation and archiving of both his work and his everyday life. This exhibition, the largest and most complete every staged on the theme, investigates the relationship between Mollino and photography, highlighting its uniqueness and the recurring features, starting from the early images of architecture produced in the 1930s right up to the Polaroids from the last years of his life.

 

Carlo Mollino - Mimì Schiagno, 1952-1960 c. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

Carlo Mollino – Mimì Schiagno, 1952-1960 c. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

Carlo Mollino e Riccardo Moncalvo - Casa del Sole, Cervinia, fotomontaggio, 1955 c. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

Carlo Mollino e Riccardo Moncalvo – Casa del Sole, Cervinia, fotomontaggio, 1955 c. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

 

 

Following in the footsteps of his father Eugenio, an engineer and keen photographer, Carlo Mollino approached this expressive medium as a young man, developing not only a vast corpus of images midway between the traditional canon, of which he had a thorough knowledge, and the drive towards experimentation, but he also developed a peculiar critical awareness that led him in 1949 to publish Il messaggio dalla camera oscura (‘The Message from the Darkroom’): an innovative and fundamental volume for the promotion of photographic culture in Italy and for its acceptance among the main art forms.

 

Carlo Mollino e Riccardo Moncalvo - Società Ippica Torinese, fotomontaggio, 1941. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

Carlo Mollino e Riccardo Moncalvo – Società Ippica Torinese, fotomontaggio, 1941. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

Carlo Mollino - Prototipo in legno delle posate disegnate per la Reed & Burton, 1950. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

Carlo Mollino – Prototipo in legno delle posate disegnate per la Reed & Burton, 1950. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

 

The exhibition comes to a close with a number of documents, including letters, handwritten and typed manuscripts (in particular regarding the successive drafts of Il messaggio dalla camera oscura), and a series of postcards collected by Carlo Mollino from every corner of the globe, which as well as an attitude of constant research and curiosity, reflect his vivid interest in photography in every declination and expression.

 

Carlo Mollino - Casa Devalle, Torino 1939-1940. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

Carlo Mollino – Casa Devalle, Torino 1939-1940. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

Italo Cremona - Ritratto di Carlo Mollino attraverso il piano in cristallo della mensola d’ingresso in Casa Miller, Torino 1936 c. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

Italo Cremona – Ritratto di Carlo Mollino attraverso il piano in cristallo della mensola d’ingresso in Casa Miller, Torino 1936 c. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

 

All the materials on show, apart from a number of duly marked exceptions, come from the collections of Turin Polytechnic, the Archives of the Gabetti Library, and the Carlo Mollino Collection. “With great pleasure, the Archives section of the ‘Roberto Gabetti’ Central Library of Architecture welcomed CAMERA’s proposal to dedicate a wide-ranging exhibition to Carlo Mollino’s photographic production,” recalls Professor Sergio Pace of the DAD (Department of Architecture and Design) at Turin Polytechnic.

 

Carlo Mollino - Stazione-albergo al Lago Nero, Sauze d’Oulx, 1947 c. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

Carlo Mollino – Stazione-albergo al Lago Nero, Sauze d’Oulx, 1947 c. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

Carlo Mollino in aereo, 1950-1960 c. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

Carlo Mollino in aereo, 1950-1960 c. © Politecnico di Torino, sezione Archivi biblioteca Roberto Gabetti, Fondo Carlo Mollino

 

“Throughout his career, the great Turinese architect turned a special attention to this activity, thus leaving a detailed testimony not only of his own planning activity, but also and above all of the wide range of interests and often uncommon passions that made him such a unique figure on the Italian cultural panorama. There are thousands of shots, taken with a range of different techniques and often touched up by hand on the negatives and/or the positives: from the plate negative to that on film, from black and white to colour, from photomontage – produced together with his friend the photographer Riccardo Moncalvo – to the use of Polaroids for his most private shots, the archives of the Polytechnic house a precious collection, useful not only for understanding a unique maestro, but also constituting a key chapter in the history of 20th-century Italian photography. Also by virtue of the breadth of such horizons, it’s important to underline that the exhibition also exploits the first results of a project on the digitalisation of Carlo Mollino’s negatives, co-financed by the Piedmont Regional Council.”

The exhibition is accompanied by a publication issued by Silvana Editoriale containing reproductions of all the works on show, along with essays by Francesco Zanot, curator of the exhibition, Enrica Bodrato, Fulvio Ferrari and Paul Kooiker.


 

News source: CAMERA – Centro Italiano per la Fotografia
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