Vincenzo Pagliuca

Born in Broni (Pavia) in 1980. His artistic research is aimed at the territory and the signs of human action on it. With particular places, endowed with a strong symbolic value, it creates connections that it cultivates over time, long-term dialogues from which strongly internalized visions of landscapes and architecture arise.
His works have been exhibited in museums and festivals such as: the Copenhagen Photo Festival, the Darmstädter Tage der Fotografie, the Italian Center of Author Photography (Bibbiena), the Arcos Museum (Benevento), the Galleria del Cembalo (Rome), Villa Pignatelli - House of Photography and the MADRE museum (Naples), the Ulster Museum (Belfast). From 2015 to 2017 he was a member of the Lab \ for an irregular laboratory created by Antonio Biasiucci. In 2020, The Velvet Cell publishing house publishes its first book entitled 'Napoli Nord • Case Rom'.

"Mònos"

Vincenzo Pagliuca developed his project with a Mamiya 7, shooting in colour and with a fixed lens, sifting through the entire Southern Appenine, from Lazio to the Aspromonte. He searched for precise light conditions, photographing during the winter months and at sunrise. The framing is reduced to its essentials. At the centre, solitary houses immersed in the natural environment, acting as metaphysical pulls. These houses at the margins, often built with no ambition, with the exception of being present or occupying the space of nature at the edges, accidental architecture, where the photographic act inscribes relations, dimensions, balance. Here visual exploration is serial and systematic, sketching a rigorous and compositionally controlled geography of the South which evokes the style of the German School in its design.

Sculptures of the common man collect signs and geometries, open up to subjectivity and mental amplification, a panoramic condition which reflects an inner topographical landscape. Cement dialogues with the earth, bricks and metal sheets interact with the trees and grass, roof tiles and windows talk to the washed out skies, the geometry of the houses blends in with the natural lines, difficult to control. These houses, in the prolonged and dialectical gaze, one after the other, one with the other, constitute the place of dream and meditation, the set for a b-movie that kindles the possibility of understanding space and defining, thinking, exploring the complexity of humanity and of its appropriate territory.

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