Rigolini reflects on the status of photography and its relationship with reality, questioning a multitude of possibilities that the image can assume in its connection with the real. Central to his path is the affirmation of the photographic act through a gaze that determines aesthetic experience. This sensibility, capable of grasping in photography an image that transcends reality and is rooted in the culture of art history, leads him to renounce the shot and the camera in favor of an inexhaustible search for already existing photographs, with scientific value and conceived as “pure” documents.
An important nucleus of works, for example, is developed around NASA documents, reawakening the perception of the enthusiasm associated with space exploration. In the exhibition, two sequences of photographs of lunar geology are transformed into abstract photographic surfaces. The choice of images, their sequence, size, and print quality, calibrated in lighting and gradations from black to white, along with gaze-driven framing, give these works a visual aspect that opens to poetry.
Other works in the exhibition are made using artificial intelligence, but even in this area Rigolini continues to reintroduce the themes that have accompanied him since the beginning of his career: the status of photography, the image and the real. These questions are at the heart of his research, which he tirelessly explores through every available technique. Rigolini is distinguished by a rigorous and calibrated conceptual coherence, a quality that deeply pervades his artistic approach. In fact, the exhibition culminates in “La Saletta,” where a previously unseen work by the artist is presented: 36 photographs of unidentified flying objects (UFOs), generated through artificial intelligence algorithms, that form an installation covering the entire
wall. The work is inspired by a recent volume published by the artist in 2022, entitled “Inexplicata Volantes,” in which the artist presents original photographs from an archive of ufology. This installation highlights the evolution of Rigolini's work and how his works are part of a profound dialogue between archive, art and technology.
The choice to deal with such a controversial topic as UFOs-a phenomenon that, since the 1940s, has aroused fascination and curiosity, fueling debates about its veracity-gives the work an intriguing and challenging dimension.
This approach invites deep reflections on the nature of truth and visual interpretation. The mention of the use of artificial intelligence algorithms to generate the images also raises questions about the role of technology in contemporary art, amplifying the discourse about what can be considered “photographic.”
Rigolini reflects on the status of photography and its relationship with reality, questioning a multitude of possibilities that the image can assume in its connection with the real. Central to his path is the affirmation of the photographic act through a gaze that determines aesthetic experience. This sensibility, capable of grasping in photography an image that transcends reality and is rooted in the culture of art history, leads him to renounce the shot and the camera in favor of an inexhaustible search for already existing photographs, with scientific value and conceived as “pure” documents.
An important nucleus of works, for example, is developed around NASA documents, reawakening the perception of the enthusiasm associated with space exploration. In the exhibition, two sequences of photographs of lunar geology are transformed into abstract photographic surfaces. The choice of images, their sequence, size, and print quality, calibrated in lighting and gradations from black to white, along with gaze-driven framing, give these works a visual aspect that opens to poetry.
Other works in the exhibition are made using artificial intelligence, but even in this area Rigolini continues to reintroduce the themes that have accompanied him since the beginning of his career: the status of photography, the image and the real. These questions are at the heart of his research, which he tirelessly explores through every available technique. Rigolini is distinguished by a rigorous and calibrated conceptual coherence, a quality that deeply pervades his artistic approach. In fact, the exhibition culminates in “La Saletta,” where a previously unseen work by the artist is presented: 36 photographs of unidentified flying objects (UFOs), generated through artificial intelligence algorithms, that form an installation covering the entire
wall. The work is inspired by a recent volume published by the artist in 2022, entitled “Inexplicata Volantes,” in which the artist presents original photographs from an archive of ufology. This installation highlights the evolution of Rigolini's work and how his works are part of a profound dialogue between archive, art and technology.
The choice to deal with such a controversial topic as UFOs-a phenomenon that, since the 1940s, has aroused fascination and curiosity, fueling debates about its veracity-gives the work an intriguing and challenging dimension.
This approach invites deep reflections on the nature of truth and visual interpretation. The mention of the use of artificial intelligence algorithms to generate the images also raises questions about the role of technology in contemporary art, amplifying the discourse about what can be considered “photographic.”
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