{"id":5811,"date":"2023-10-16T14:48:40","date_gmt":"2023-10-16T12:48:40","guid":{"rendered":"https:\/\/www.fondazionearnaldopomodoro.it\/?p=5811"},"modified":"2023-11-03T15:02:21","modified_gmt":"2023-11-03T14:02:21","slug":"ugo-mulas-fotografa-arnaldo-pomodoro","status":"publish","type":"post","link":"https:\/\/www.fondazionearnaldopomodoro.it\/en\/ugo-mulas-fotografa-arnaldo-pomodoro\/","title":{"rendered":"Ugo Mulas fotografa Arnaldo Pomodoro"},"content":{"rendered":"
\n
\n
\n
<\/div>\n<\/div>\n<\/div>\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n

Ugo Mulas fotografa Arnaldo Pomodoro<\/strong><\/em><\/h4>\n

curated by Angela Vattese
\nOctober 3, 2008 - March 22, 2009
\nFondazione Arnaldo Pomodoro, Via Solari 35, Milano<\/p>\n<\/div>\n<\/section>\n<\/div>\n<\/section><\/div>\n<\/div>\n

\n
\n
\n
\n
\n

The initiative, curated by Angela Vettese<\/strong>, features over 100 images taken by Ugo Mulas from 1959 to 1970<\/strong>, which portray the intense friendship and working relationship between Mulas and Arnaldo Pomodoro, whose studios were located in the same building in Milan.<\/p>\n

In Ugo Mulas\u2019s photos (1928\u20131973), there is almost the entire body of Pomodoro\u2019s work over more than ten years<\/strong>. These images reveal Pomodoro\u2019s artistic and personal journey: his first exhibition at an American gallery, the Marlborough; the room at the Venice Biennale; the large spheres photographed on the rocky sands of the Ticino as if they were pierced planets or lunar concretions; portraits with his brother Gi\u00f2\u2026 and, above all, the spark that ignited this extraordinary relationship: the Full-Length Portrait<\/em>, the result of a playful moment, as Pomodoro himself recalled: \u201cIt all started in 1959 with a portrait born from a curious situation. I had arrived at his studio in Piazzetta Guastalla wearing a jacket. Usually, then as now, I don\u2019t wear one. Ugo, surprised and intrigued, asked me to pose in front of the backdrop he had just used for a men\u2019s fashion shoot. And so, somewhat as a game and with much irony, my first portrait was born.\u201d<\/em><\/p>\n

Ugo Mulas loved photographing sculpture<\/strong> more than painting because it made him less passive, allowing him to play with shadows and perspectives. While a painting suggests a static attention, sculpture allows and, especially in Pomodoro\u2019s case, demands active engagement. He himself liked to say: Photographing a sculpture means reading the sculpture, it means giving it space, light, and a point of view; photographing a painting means merely performing a banal act of reproduction; photographing a sculpture is like translating a piece of literature from one language to another, moving from the three dimensions to the two dimensions of the photographic sheet, and therefore requires a different language and thus an act of interpretation.<\/em> It is considerations like these that explain, beyond an unbreakable human bond, why Mulas photographed everything he could of Arnaldo Pomodoro over nearly fifteen years.<\/p>\n

On this occasion, a volume is published by Edizioni Olivares<\/a>, featuring a text by Angela Vettese.<\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n<\/div><\/div><\/div><\/div>\n<\/div>\n<\/div>\n

\n
\n
\n
<\/div>\n<\/div>\n<\/div>\n
\n
\n
\n
\n
\n
\n
\n