MATTEO CESCHI & JIM MARSHALL’S “RISE AND FALL” IN SARAJEVO

Rise and Fall 2019

Matteo Ceschi and Jim Marshall‘s Rise and Fall multimedia art exhibition (with high-patronage of the Italian Embassy in Bosnia and Herzegovina) at Historical Museum of Bosnia and Herzegovina (Zmaja od Bosne 5, Sarajevo)

 

OPENING EVENT: TUESDAY 17 SEPTEMBER 2019, 7PM

 

Walls are absolutely central to the history, experience, interaction, culture and condition of humans. From ancient paintings on the walls of caves, to the Great Wall of China, to the Walls of Jericho, the Wailing Wall, and the Walls of Babylon, to the modern perspectives of the Berlin Wall, right-wing dreams of border walls, and contemporary graffiti, not least in the context of the internationally recognised works of Banksy and Blu, et al.

While walls can divide and exclude, they can also function as shared, inclusive, even sacred spaces. They can communicate cultural, historical and political events and experiences through fading signs, plaques, shrapnel marks, other more subtle features, and of course street art.

Urban environments, such as Milan and Sarajevo, speak through their walls, telling stories of often tumultuous change.

Jim Marshall and Matteo Ceschi’s photo project presents a dialogue between two different contexts and artists, reflecting the humour, the horror, the light and the darkness of the stories told by the walls of our cities. Stories of events and of empires, and indeed of walls as they rise and fall.

 

SEE: https://www.unimib.it/unimib-international/winter-and-summer-schools/summer-schools-2019

FEDERICO GARIBALDI’S “THROUGH” SOLO EXHIBITION

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The series of frames entitled “Through. Speriamo che il tempo non sia in ritardo” (opening TODAY, Area 35 Art Gallery, Via Vigevano 35, Milano, 6:30 PM) helps the viewer to rediscover his/her peripheral vision. Just for one day, let the narrow social networks perspective go. Friend Federico Garibaldi makes us see through the black dots of trolley car windows other people and ourselves.

I took the b&w shots of Federico Garibaldi working from March to early May 2019 with my lovely Fuji X100.

Federico Garibaldi's Through 2019_01

Federico Garibaldi's Through 2019_02

Federico Garibaldi's Through 2019_03

Federico Garibaldi's Through 2019_04

LIVE ACT PHOTO SERVICE

Live Act Photo Service_by Fede

Are you in Milan with your band for a live show/showcase or a recording session?

I am a photographer/essayist/music journalist, member of f/50 The International Photography Collective.

I’ve been in the music business for more than twenty years. Now, I am a columnist for Swiss Pnp Magazine and for Indiana Music Magazine and a contributing author/photographer for Fuji X Passion and Olympus Passion magazines.

In my ROCK MUSIC ARCHIVES you can find people like Iggy Pop, Chris Cornell & Soundgarden, Wayne Kramer & MC5, Soft Machine and indie/underground musicians too.

If you are tired of the usual boring photo sessions, please contact me. In addition to the live performance I can also photograph all the soundcheck & backstage situations. (Photo: Me and Zara McFarlane at Blue Note, Milan, 2018 – by Federico Ramponi)

CONTACT: ceschimatteo@gmail.com

ROCK MUSIC ARCHIVES ON-LINE

Soundgarden

In the ROCK MUSIC ARCHIVES (click on the top right to find the menu) I collected all the shots I’ve taken over the years for various music magazines and websites. Currently, my frames are published in Swiss Pnp magazine, Fuji X Passion, Olympus Passion, and in Indiana Music Magazine.

You can find a selection of my ROCK MUSIC ARCHIVES shots (Soundgarden, Prince, Enrico Rava, Greg Dulli, Esperanza Spalding etc.) at ExpoWall Gallery, Milan.

Send any requests for usage rights, info or to buy fine art prints to ceschimatteo@gmail.com or to info@expowallgallery.com

 

ONCE AGAIN IN SARAJEVO

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Once again… I’m very proud to participate in the 2019 International Summer School Bicocca, Sarajevo (BH), September 16-22. Hey folks, I’m ready for a new photo exhibition with friend Jim Marshall. Stay tuned for more news! (Poster shot: Sarajevo, late September 2016 – FujiFilm X30)

ME, MYSELF AND I, NOVEMBER 2018

Autoritratto, Milano, December 11, 2018 72

MATTEO CESCHI, Milanese street photographer, essayist and journalist, he writes for several magazines and has exhibited his shots in various locations. His latest book, Un’altra musica. L’america nella canzoni di protesta, was published in 2018 by Mimesis Edizioni. He is a member of f50/The International Photography Collective. His latest projects were in collaboration with f/50 fellows John Meehan, Steve Coleman, Keith Goldstein and Peter Barton and with the Italian fashion brand Lucio Costa. He received a honorable mention at the 2015 International Photography Awards. In 2016 he realized with colleague Jim Marshall KO.existence, a photographic project exhibited in Sarajevo and in 2017 in Milan (with high-patronage of the Italian Embassy in Bosnia and Herzegovina). In 2017 he was curator of an exhibition of historic photos entitled Unseen Sixties at ExpoWall gallery in Milan. In Spring 2017 he launched with creative designer Federico Ramponi remoteclicking, a new shooting language that exploits mobile technology. He was the author of the “making of” of artist and director Federico Garibaldi’s short film, Un filo tra cielo, terra e acqua, winner of the Silver Dolphin prize at the 2018 Cannes Corporate Media & TV Awards.

REINVENTING THE “RESISTENZA” – THE PRESENT LOOKS AT THE PAST

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– FRIDAY, September 21, 2018
VIDEO PRESENTATION
University of Milano-Bicocca, Rectorate – Rodolfi Room, Building U6, IV Floor,
Piazza dell’Ateneo Nuovo 1, Milano –  9AM 

– SATURDAY, September 22, 2018 
WALKING SEMINAR
University of Milano-Bicocca, Piazza dell’Ateneo Nuovo 1, Milano – 10AM

 

Today, intolerance and ignorance seem to be common moods in reading the Italian Resistance, La Resistenza, and in general the national history.

A lot of people prefer to forget what the past can teach: that’s a conscious and opportunistic approach that becomes an everyday philosophy for those politicians who look for short-term consensus.

Ignorance, you know, is a powerful weapon in the hands of those people who have spent their lives climbing to get the power. There is no necessary link between leadership and the oblivion of the history: real leaders know very well the lessons of history and the social-economic context where they operate.

In the social media era the legacy of history is all too often considered optional and basically useless: tweet by tweet, the present in progress deletes any genuine knowledge of the past. Gentrification and urban changes/transformation help this corrosive action destroying and deconstructing personal and collective memories. Their landscape, their framework vanishes.

When professors Tatjana Sekulić and Roberto Moscati offered me the opportunity to develop a photographic project on La Resistenza in the Greco-Pirelli/Bicocca area all these considerations became part of and inspired my artistic quête. There were two obstacles that I had to face: first, the almost total lack of signs of those times in the neighborhood (the remaining elements are an old factory chimney and a commemorative plaque dedicated to the partisans killed by the fascists, but today closed inside the Pirelli’s headquarters); the second obstacle was that my background and my imagery are far from the facts I was asked to evoke, for a double generational reason, not only because of my age, which does not include me in any direct collective memory, but also because I am by choice aesthetically and intellectually closer to the Sixties and Seventies’ counterculture.

All this made the task difficult but not impossible.

The impossible access to the relics of the Resistenza era pushed me to look for a way to provoke the revival of the past in the people who would look at my shots. So I decided to approach the issue with my everyday street photography mood, to recreate a credible iconographic-historical scenario.

Straight on the target without compromises: high contrast black and white in camera – don’t forget, the few memories of La Resistenza in Milan are in black and white; well focused clicks; few post-production. In short words, straight photography as I usually do it: no will to tamper with the representation of reality, even if I know a representation is not a mirror reflection.

In my approach to photography I considered I could add a touch of theatrical performance (in the recent past I had a theatrical experience as writer/author): in some frames – recorded with the self-timer technique – I become part of the scene dressed in a total black suit as the ghost of an unknown partisan – in the Resistenza there were no heroes, simply men and women. The Bicocca university buildings, the Pirelli factory, the work sites and the streets were my stages; an abandoned bottle became an improvised weapon, a molotov cocktail.

At the exact moment of every single shot I had in mind keywords/guide words that I wanted to propose again during the video presentation of the project. They were just suggestions, personal mind sketches, I hope they can help the discussion and the debate.

As in other projects, I’ve embraced the photographic lesson of PROVOKE, a Japanese collective active in the late Sixties: “words have lost the material force that once held the reality” and the photographers “capture with their eyes the remaining vestiges of reality that words no longer reach.”

You too will agree that the power of an image is stronger than any word. So my keywords remain only shy “whisperers” to your eyes.

The video presentation of my work will be a preview of the walking seminar scheduled for the final day of the summer school. Seven of the pictures will be printed in large format and will accompany us on a short tour in the Greco-Pirelli/Bicocca neighborhood – the locations I chased in the mid of August for the shots. Professors and students will be invited to give their contributions to the revival of the Resistenza adding to the seven photos writings, thoughts, tags and drawings, etc.

My hope, before leaving you to the vision of the images, is that once you get home you’ll make this experiment yours and improve it.

There are no better eyes than those of others to take pictures, that’s an important lesson; there exists a multitude of eyes to see the world in different ways. That could be the first step to break the walls around the world.

 

2018 BICOCCA INTERNATIONAL SUMMER SCHOOL

DOWNLOAD THE FULL PROJECT: Reinventing the Resistenza