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Alessandro Rizzi
 
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Sculptures

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Text

Studies for Sculptures originates from a series of photographs depicting construction-site materials, encountered intermittently during the March for All Justice in Washington, D.C.. The geometric configurations inscribed in wood surfaces are approached as latent diagrams—structures that, to me, articulate stratified levels of consciousness and reveal the manner in which social energies are channeled into preconfigured forms.

Rendered as drawings and published in the book in their original chromatic condition, these forms assume a symbolic function: they stand in for the dynamics of a collective within the broader social body. In doing so, they foreground a critical question concerning the self-representation of minorities—how visibility is constructed, mediated, and, at times, constrained within dominant frameworks.

First of a trilogy of books devoted to the African Americans issue, Sculptures Vol. I. is an intimate and conceptual narrative of the greatest manifestation of African Americans from the Martin L. King times. Photographs taken at Washington December 13, 2014, more precisely during the protest on civil rights which took place in the capital after the clashes and deaths of Ferguson, combine the political motivation an intimate dimension of the project linked to the author’s personal life.

Sculptures is a Long Term Project about the Afro-Americans Issue. A contemporary photographic work that focus on different layers of the complexity social matter. The first Volume of a trilogy books which has been published by Yard Press at the end of 2015 received awards and international interest.

Sculptures VOL I, has been selected as one of the Best European Publication in the 2016 by Kaleid Edition London and is collected in the permanent Art Book Collection of M.o.M.A., Metropolitan Museum of Art – THE MET, Oslo National Academy of Arts Library, Chicago SAIC J. Flasch Artists’ Book Collection.

Impressum

Sculptures

Alesssandro Rizzi

Photos

Alessandro Rizzi

Art direction—Design

Giandomenico Carpentieri

Achille Filipponi

Printed

Grafiche CMF

Foligno (PG), Italy

October 2015

500 copies

©Yard Press

Note

Photographer’s note

The Black Diary is a notebook I chose to purchase in Washington, D.C. on December 12, 2014, the day before the “March for Justice” held in the capital following the fatal shooting and the civil unrest that began in Ferguson. I invited people who had come to Washington to leave a personal testimony—an inscription of their presence—so as to gather traces of their physical and emotional involvement in that specific moment of American history. Images of the demonstration are collected and transformed into sculptures.

Text

Editor’s Note

Sculptures by Alessandro Rizzi is a book whose photographs were shot over the timespan of a few hours in Washington D.C. on December 13, 2014, and more precisely, during the civil rights protests that took place in the capital after the fatal shooting and civil unrest originating in Ferguson. Rizzi gives back a sharp and paradigmatic work on American society as a whole, and on the importance of a political demonstration that is a sign of the times and is coherent to its prescribed script, he plays with the fragments and cracks of what could be a historic moment for the struggle of the black community but that does not appear to be so: the sculptures at play in this event are part of a larger scenario that provides for their presence and contribution as actors both united and alone. This kind of structural weakness of the human element does not manifest in what is portrayed in the photographs which always appears to be plastic and structured, but instead lives within this visual paradox, as testimony to the distance in the union, and a fragility, despite the solidity, structure, and plasticity within each one of us.

Sculptures is collected by M.o.M.A, Metropolitan Museum of Art, Oslo National Academy of Arts Library, Chicago SAIC J. Flasch Artists’ Book Collection, Lafayette Art Books Collection, Swarthmore Art Books Collections.

These tracks were captured on a cold Saturday in Washington, D.C. — December 13, 2014. They are part of Sculptures, my long-term project on the African American experience, and form a central element of an ongoing exhibition concept. After extensive listening sessions, I chose to leave the recordings exactly as they were taken in the field. Their sequence remains unchanged, allowing the initial quiet to serve as an entry point into the charged, impassioned voices that follow. Firsthand accounts of those hours are documented in a field diary, also part of the Sculptures archive.
Artist’s note

Artist’s note

The Black Diary is a notebook I chose to purchase in Washington, D.C. on December 12, 2014, the day before the “March for Justice” held in the capital following the fatal shooting and the civil unrest that began in Ferguson. I invited people who had come to Washington to leave a personal testimony—an inscription of their presence—so as to gather traces of their physical and emotional involvement in that specific moment of American history. Images of the demonstration are collected and transformed into sculptures.

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Washington D.C. · 12.13.2014
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