The title refers to "La Tendenza", a "movement of ideas" celebrated in an exhibition held in 2012 at the Centre Pompidou in Paris and focusing on Italian architecture between 1965 and 1985.
The ambiguity of the word (“the trend” in English) is the starting and meeting point between architecture commission and installation, historic movements and fleeting trends, past and future perfect. Archetypal forms (circle, triangle, square) and colors (yellow, cement, red stone) are repeated as refrains, highlighting some peculiar characteristics of Milanese architectures from "La Tendenza”, its forerunners and imitators.
For "La Tendenza", Massaro draws from his experience as a commercial photographer, blurring the boundaries between commission and installation, page and wall, commercial and personal work. “La Tendenza”, which was born as a commission, becomes a personal portrait of the ambitions and failures of this architectural period; photographing means documenting but also "fashioning" a series of stratified "traces" from the past, dealing with a present that is already other than itself, as it conditions and connotes the future.
"La Tendenza" juxtaposes three different times and three photographic formats, responding to the space in which it is presented: the duration of the architecture, the pre-vision of trends, the instantaneousness of photography.
Edicola Radetzki Milano
Triennale Milano (Confotografia)
Urban Center Bologna
Scuola Architettura Siracusa
Biennale Spazio Pubblico Roma
Little Big Press - FotoGrafia Festival, MACRO
On Landscape #2 - Matèria Gallery Rome
Book by Gluqbar Editions
(final text by Sabrina Ragucci)
Ongoing Project for Gluqbar Identity
Interactive game online by Gluqbar Editions
with the support of Confotografia residency
L’Aquila & La Rana | The Eagle & The Toad
According to several scientific studies, hundreds of frogs deserted their mating place in the days before the 2009 earthquake in L’Aquila, Italy. An ancient legend attributed the occurrence of an earthquake to the jumps of a giant frog, carrying the Earth on its back. Zheng Heng, Chinese scientist, invented in 132 a seismograph called Didong Yi, at the base of which eight frogs were represented. As an experiment of bestiary in the book-format of a newspaper, the artist book investigates in what terms the prevision of natural phenomena, synchronicity and the imaginary (The Frog) is related to the vision of the natural world, the real time and the documentary (The Eagle).
"Dans le langage en émulsion, les mots sautent au hasard, comme dans les marécages primitifs nos grenouilles d’ancêtres bondissaient selon les lois d’un sort aléatoire" - Jean-Pierre Brisset via Michel Foucault.
Ukiyo-e (浮世絵 literary "images of the floating world") refers to a Japanese mass production art print technique on wooden blocks, born in Tokyo, Kyoto, Osaka in the 17th century, before "the age of mechanical reproduction". The "floating world" is the representation of the new Japan: the word is also an ironic allusion the homophone religious term (憂き世), "the suffering world" of Buddhism and tradition. Ukiyo-e was influenced by the Western culture and in turn inspired the European Impressionism. These photographs, as visual haikus from a trip to Tokyo, Kyoto, Osaka in 2012, purely portrays the Western perception of Japanese culture and viceversa, at the intersection of nature and culture, tradition and industrialization, representation and imagination.
"I was taking a picture without knowing that in the 15th century Basho had written: 'The willow sees the heron's image... upside down.' The commercial becomes a kind of haiku to the eye, used to Western atrocities in this field; not understanding obviously adds to the pleasure. For one slightly hallucinatory moment I had the impression that I spoke Japanese, but it was a cultural program on NHK about Gérard de Nerval." - Chris Marker
collaboration with Massimiliano Savino, OST by Dumbo Gets Mad
Studiò - 37 Rue Breguet, Paris 2012
Energie Diffuse, Chiostri San Domenico Reggio Emilia 2018