brilliant visions
Massimo’s gaze
Graphic designer, communicator, designer but also painter, collector, ceramicist, teacher, traveller, cook and cooking enthusiast: for the first time Dolcini's complex and labyrinthine personality is presented in full, bringing to light unknown or little-known aspects, through an exhibition divided into two parts, which alternates spectacular, visually striking moments with more intimate and reflective situations. More than three hundred works — photographs, paintings, watercolours, ceramics and posters — document the private and more secret Dolcini.
The space of life. The exhibition route opens with a painting linked to his activity as a painter, practiced in his early youth and later abandoned. A surreal and fantastical image never before shown to the public, which already reveals the quality of his gaze, original and kaleidoscopic since adolescence. A passion that returns in adulthood through a series of watercolours on display. The first section, dedicated to 'author' photography, brings together a series of previously unpublished personal images linked to Dolcini's everyday and professional life: portraits and self-portraits, landscapes and places, friends and students captured with a subjective and original eye. The second offers photographic documents — likewise previously unpublished — produced for purposes related to his communication work, which nevertheless offer an engaged and sometimes affectionately ironic view of the figures, initiatives and public life of the Pesaro community in the 1970s.
The rediscovered reportage on Persia. Of great interest and high photographic quality is the series of colour prints from 6×6 slides taken on a trip in the mid-1970s with the graphic designer Michele Provinciali. This had been a job commissioned to Dolcini by Provinciali himself, with the aim of producing a volume edited by Provinciali and published by Spotorno, following the earlier volume — Iran. L'alba della civiltà (Iran. The Dawn of Civilization) — published by the same house in 1972. The subject of the research was the bazaars and sales spaces of the various types of craftsmanship still practiced in Iran. The volume was never produced, but this splendid heritage of previously unpublished images remains, of which a substantial selection is offered in the exhibition.
Between the two sections, a circular element instead concerns Dolcini's role as a collector of popular ceramics and as a ceramicist himself: two aspects that testify to his interest in handcrafted everyday objects and their possible closeness to design, documented through a selection of ceramics from his private collection and a sample of pieces he made himself.
The space of work. On the walls of the Chiesa del Suffragio unfolds a selection of Massimo Dolcini's graphic production: a body of wall posters — about 70 — documenting his work for the most varied clients — institutions, organisations and businesses active in the city, in addition to the Municipality of Pesaro, for which he worked starting in the 1970s.
The space of life. The exhibition route opens with a painting linked to his activity as a painter, practiced in his early youth and later abandoned. A surreal and fantastical image never before shown to the public, which already reveals the quality of his gaze, original and kaleidoscopic since adolescence. A passion that returns in adulthood through a series of watercolours on display. The first section, dedicated to 'author' photography, brings together a series of previously unpublished personal images linked to Dolcini's everyday and professional life: portraits and self-portraits, landscapes and places, friends and students captured with a subjective and original eye. The second offers photographic documents — likewise previously unpublished — produced for purposes related to his communication work, which nevertheless offer an engaged and sometimes affectionately ironic view of the figures, initiatives and public life of the Pesaro community in the 1970s.
The rediscovered reportage on Persia. Of great interest and high photographic quality is the series of colour prints from 6×6 slides taken on a trip in the mid-1970s with the graphic designer Michele Provinciali. This had been a job commissioned to Dolcini by Provinciali himself, with the aim of producing a volume edited by Provinciali and published by Spotorno, following the earlier volume — Iran. L'alba della civiltà (Iran. The Dawn of Civilization) — published by the same house in 1972. The subject of the research was the bazaars and sales spaces of the various types of craftsmanship still practiced in Iran. The volume was never produced, but this splendid heritage of previously unpublished images remains, of which a substantial selection is offered in the exhibition.
Between the two sections, a circular element instead concerns Dolcini's role as a collector of popular ceramics and as a ceramicist himself: two aspects that testify to his interest in handcrafted everyday objects and their possible closeness to design, documented through a selection of ceramics from his private collection and a sample of pieces he made himself.
The space of work. On the walls of the Chiesa del Suffragio unfolds a selection of Massimo Dolcini's graphic production: a body of wall posters — about 70 — documenting his work for the most varied clients — institutions, organisations and businesses active in the city, in addition to the Municipality of Pesaro, for which he worked starting in the 1970s.
date
2015
Client
Comune di Pesaro, Coop Sistema Museo
Location
Pesaro
Comune di Pesaro, Coop Sistema Museo
Location
Pesaro
