For those who haven’t got the chance to experience the 2015 Milan Expo in person, now is time to take a close look at the Italian city.
The Italian Institute of Culture and Today Art Museum are presenting “Exploring Milan: 100 Shoots from the Expo City and its Surroundings,?a photography exhibition featuring more than 90 pictures by renowned Italian photographer Roberto Goffi.
The exhibition not only presents Milan during the Expo period, but also the city in its ancient and modern times.
“It’s a journey through Milan and its surroundings, a thorough glance to highlight the thousands of shades of metropolis. A web of stratified mazes makes up any big city and its hinterland. To unravel its intricacies and narrate their stories, we need tracks to follow and keys for interpretation,” Goffi said.
Born in 1948 in Turin, Goffi was an architect before he turned to photography in 1977. Now a well-respected photographer, he is skilled in the discovery and reuse of ancient techniques.
The more than 90 images presented can be separated into four sections: Milan the Ephemeral, Milan the Laborious, Milan the Secretive and Milan’s ancient roots.
In the first section, Goffi portrays the contemporary spirit of the Expo, programmatically ephemeral, through cold images on industrial paper and put on aluminum plates.
The other three sections show layers of the past, sometimes recent but always long-lasting. Milan the Laborious looks at the factories and waterways, as well as old buildings and modern re-inventions of the structures that defined the city when it was Europe’s economic capital.
Milan the Secretive penetrates into an array of discreet and secluded places, reflecting the personality of the denizens of Milan, their concreteness, their reluctance towards ostentation and their tendency to hide shy treasures.
The last section investigates the city’s ancient origins and is read as shreds of visual poetry, growing soil and origin of everything.
Goffi favors black and white images. Like the color-gradation technique of traditional Chinese paintings, he combines plain colors with the sensitized watercolor paper to accentuate their poetic aspects. Some also contain traces of pencil drawings and hand-coloring.
Poetry is an important part of Goffi’s artistic language. By adding lines of poetry to his photographs, he clearly presents their implicit meaning.
Through September 8
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