Piermario Ciani
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Piermario Ciani (Bertiolo, June 19, 1951 - Udine, July 3, 2006) was an Italian artist, photographer and graphic designer also known for his activities in the fields of publishing, mail art, event creation and counterculture. Throughout his life he also used the alter-egos Trux, Luther Blissett and Stickerman.
Biography[edit]
The 80's[edit]
Piermario Ciani was born in Bertiolo, in the province of Udine, on 19 June 1951. After a pictorial debut in the mid-seventies with results close to the Op Art, starting from 1979 he animates the Free Documentation Center in Udine, a reality that sees among also guests Fernanda Pivano, Allen Ginsberg, Gregory Corso, Julian Beck, Judith Malina, as well as exhibitions by Max Capa and Lorenzo Mattotti.[1]. Also in 1979 he approaches photography, thanks to a workshop with the American photographer Will McBride, held during the Venice 79 - Photography event. In 1980, on the occasion of a seminar with the reporter Tony D'Urso of Odin Teatret, he took several shots at the Santarcangelo di Romagna theater festival, shortly after launching the series of black and white photographs Ritratti Naoniani (1980-1982), dedicated to the punk and post-punk scene of Pordenone, at the time dominated by the artistic-musical movement of The Great Complotto [2]. In this context, he photographed the members of the various groups of the movement, simultaneously giving life to the ghost-group of the Mind Invaders, whose non-existent concerts were however reviewed by various sector magazines, and by some fanzines ("115/220", "Onda 400 " [3] and "50%", the latter born together with Vittore Baroni). Also in the early eighties Ciani began to modify his black and white photographs through the use of color xerography, meeting the interest of photography historians such as Italo Zannier, who defined his shots as rock photography, placing them side by side with those of Bruno Munari [4], col quale effettivamente espone in alcune occasioni, with whom he actually exhibited on some occasions, and Claudio Marra. In addition to the specificity of the photographic world, his experiments between photography and xerography are also recorded in various studies and exhibitions on Copy art, as well as in editorial art projects such as Elettrographics (Pavia, Edinform 1984), a portfolio curated by Maria Grazia Mattei which also includes works by Bruno Munari, Stefano Tamburini, Pierluigi Vannozzi and Giacomo Spazio. In addition to the series of Naonian portraits, also transformed by the icy colors of xerography, the series A cost of repeating myself, Histoire d'A, Dal video and Interpretations of the Polesine were subsequently born, again during the 1980s [5]
References[edit]
- ↑ AA.VV., Piermario Ciani. Dal Great Complotto a Luther Blissett, Bertiolo, AAA edizioni, 2001, p. 11
- ↑ Mauro Mazzocut, The Great Complotto Pordenone, Pordenone, Biblioteca Civica, 2005
- ↑ Matteo Torcinovich, Grafika 80! Italian New Wave, Punk, Dark, Industrial, Firenze, Goodfellas, 2020
- ↑ Italo Zannier, Storia della fotografia italiana, Bari, Laterza, 1986
- ↑ Italo Zannier, Interpretazioni del Po, catalogo della mostra, Rovigo, Palazzo Roncale, 1988
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