Images emerge like memories resurfacing — persistent shadows of tangled woods, vast marine horizons dissolving into the unspeakable, fragile flowers and delicate vegetal presences.

With these new series, Rigamonti demonstrates that photography is not merely the moment of the shot: it becomes suspension, drift, a journey through time — and through photography itself. His are, in fact, images of images. Working within his own archive, he undertakes a quiet excavation, selecting analogue slides, printing them as large Polaroids, transferring them onto watercolour paper (Solo fiori), or subjecting them to processes of duplication and transformation, such as immersion in balsamic vinegar (Paesaggi acidi), producing softened, atmospheric, sometimes corroded images. This is not an analytical verification of photography, but a poetic one: an attempt to reveal latent images, what remains despite time and alteration. The original clarity dissolves, giving way to works freed from mere representation. These “veiled” images lose definition in order to gain another kind of vision — that of memory, imagination, and inner perception.

In Paesaggi acidi, the sea becomes an inner landscape, the horizon the essence of distance — where seeing meets not-seeing. In Perso nel bosco, the viewer is enveloped in dense, almost tactile darkness, where vision gives way to sensation and disorientation. These images unsettle our sense of time and space, transforming photography into the trace of an experience within nature, rather than a depiction of it.

The series Solo fiori presents abandoned bouquets found in cemetery bins: wilted flowers, remnants of gestures of affection. No longer symbols of vanitas in the traditional sense, they become fragile yet persistent traces of memory — quiet presences that connect the living and the dead. Suspended between appearance and disappearance, preservation and dissolution, Rigamonti’s images unfold as subtle, melancholic apparitions — not allegorical, but deeply human, marked by a quiet and resonant thoughtfulness.

La Repubblica – Bologna 14 gennaio 2019

Marco Rigamonti
Tutto il silenzio che c’era
Curated by Jacopo Cenacchi
Text by Gigliola Foschi

12 January > 9 February 2019
The works will be exhibited both at the gallery and at the IusGate Law Firm, Via Castiglione 81

GALLERIA STUDIO CENACCHI
Via Santo Stefano 63
40125 Bologna

OPENING HOURS
Tuesday–Saturday: 4:30–7:30 pm
Monday: by appointment
Sunday: closed