May 22nd 2016 – June 26th 2016
The MANN (National Archeological Museum of Naples) continues proposing prestigious art exhibitions. On May 21st at 9.00 a.m., on the occasion of the event “Notte dei musei 2016” during which several European museums will be exceptionally open until 11.00 p.m., the personal exhibition of the photographer Camillo Ripaldi entitled “Questi fotografi non sono io”, curated by Marco De Gemmis, will be inaugurated. The exhibition, which forms part of the project conceived by the Educational Service of the National Archeological Museum of Naples to launch a dialogue between the heritage of antiquities guarded in the museum and contemporary languages, is supported by Morra Greco Foundation, Donnaregina Foundation for Contemporary Arts and the University Suor Orsola Benincasa.
The rooms of the Archeological Museum will house new works created especially for this occasion: small large and medium-sized photographs and a sculpture show the recent developments of the Neapolitan artist. Since his first works sensitive to the theme of the construction of the photographic image and the mystification of reality that photography tries to reproduce, Ripaldi investigates the reduction of the faculty of vision to which the man of the 21st century is victim. He ironically shows the awareness that modern man’s visus is definitively modified by the incessant iconic overload due to the indiscriminate and repeated use of projecting screens, by which he profits for different purposes every day.
The “foreign matter” to photography and in photography is a constant theme of Camillo Ripaldi, who is never at peace with his work-tool and he feels uneasy about the assumed prerogative of language to verify reality, with which he feverishly measures himself every day. In the works, which are on exhibition, the artist superimposes different screens in the centre of obvious and clear representations. The meaning is usually in the centre, which people’s attention has always focused on at least since when artists, mathematicians and philosophers planned a new world, where the core of semantic significance was not anymore in perspective and in the depth of field.
Would knowledge spring from what is shown? Would photography be the picture of reality? What possible existing realities? The artist instils doubts, he spreads questions, without answering in a definite and unambiguous way. His careful and radical ontological-metalinguistic investigation forces the observer to question the usual sight and knowledge by means of the use of devices that cancel and make sight difficult. By infringing the code of the good photography, which requires the maniacal care of details, the choice of shot, composition, lighting, saturation and precise focusing as the basic elements of the usual procedure of photography, Ripaldi spreads the image with visual traps, obstacles and disturbing elements. He creates an optical confusion in order to build and suggest decentralized visual trajectories, possible boundless horizons of sensations. He invites modern men to question their well-established prevailing carelessness of sight and knowledge to achieve a deeper and more considered awareness of sight.
Camillo Ripaldi was born in Pomigliano d’Arco on May 13th, 1970. He lives and works in Naples.
He got a diploma at the State Institute of Art Filippo Palizzi in Naples. He took a degree in Preservation of Cultural Heritage at the University Suor Orsola Benincasa in Naples with a thesis entitled “The use of photography in history of art from the second half of the 19th century to Roberto Longhi” debated with Professor Ferdinando Bologna..
He exhibited his works in 2002 and in 2006 at Studio Trisorio in Naples and Rome.
He carried out some projects for the Neapolitan museums – News from Capodimonte curated by Stefano Causa at Castel dell’Ovo, Naples, 2004; Data Bank at Record Office, Naples, 2005; Live Shot at MANN, Naples, 2010.
Moreover, he exhibited his works at Studio 34 in Salerno, he participated in the project “Il Giallo di Napoli” and in ART-TOUR in Shanghai.