03 Firenze Luciana Majoni

Photography for Luciana Malone has both an aesthetic value in its own right and an evocative potential for probing in depth the very nature of the sentiment of beauty. Majoni, for whom merely recording objective facts holds no interest, has since her very first work in the late 1970's been fascinated by the silence of beauty shrouded in mystery, which she seeks to capture in fragments of riverscapes where reality appears more rarified, mingling with the emotions and the imagination. Her series of photographs on Venice in 1976, twenty images of the city at twilight, while devoted to exploring the passage of time and firmly rooted in the conceptuality of contemporary artistic research at the time, already hints at her determination to freeze mindsets and capture inner visions. In the following decades Majoni chose to work on subject fragmentation, isolating portions of neoclassical statues which tend, in her photographic prints, to blend with the white ground of the paper, from which they barely emerge as though they held the lightness of a pencil stroke, reminiscent of remote memories veiled by time. Echoes of history and the past are recurrent in the variety of themes and genres that she has addressed over the years, from her series of portraits on a dark ground which hark back to 17th century portrait painting, to her recent focus on nature in images reminiscent of notes hastily jotted down or of memories gathered on a voyage, echoing the reflective approach of artists in the past as they travelled through Italy in search for the ethic and the spirituality of ancient beauty. She explores this path even further in her recent, intense work devoted to Michelangelo's David and to his series of statues representing the Pietà

Born in Cortina d’Ampezzo, she lives and works in Florence. While studying for her diploma at the Accademia di Belle Arti in Florence, which she gained in 1976, she began to assiduously frequent the Schema gallery, recording its intense activity and photographing its evening events and exhibitions. Her career in artistic photography really took off from here, resulting in a first personal exhibition in 1980 entitled Il Piacere delle Rovine [The Pleasure of Ruins]. Again at the Schema gallery, in 1993, she held another personal exhibition entitled Pigmalione [Pygmalion], whose significance lay in the fact that it marked the conclusion of an intense exploration of neoclassical statuary for her. A sweeping anthological exhibition curated by A. M. Amonaci at the Marino Marini Museum in Florence in 2004 illustrated the various stages in her artistic career, all marked by her resolve to explore the sense and the mystery of beauty both in nature and in art. Collective exhibitions in which she has shown her work include: Continuità. Arte in Toscana 1968-1989, curated by Daniel Soutif, Palazzo Fabroni, Pistoia, 2002; Col segno di poi. Fotografie in Toscana 1980-2004, curated by A. M. Amonaci, Galleria d’Arte Moderna di Palazzo Pitti, Florence, 2004; La Francité Dans les Villes Italiennes, curated by the DGAF and the Fédération des Alliances Françaises d’Italie, Alliance Française, Paris, 2007 (special award hors concours); Interpretare il David, Italian Cultural Institute of Luxembourg, Luxembourg, 2008.




Address: Via dei Fossi, 23

How to get there: Five minutes on foot from Florence's main SMN train station