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AR: There’s something deeply sincere in the way Guidi’s shadow enters certain images. That presence connects to many of the themes and atmospheres that recur throughout his work. In some cases, by revealing the author within the image, that shadow makes us aware of photography as an individual act of construction—a gesture of framing, of choosing what part of reality to show. In other instances, it underscores the fleeting, unstable, and transitory nature of what the lens has captured. I see this “sincerity” as part of a broader absence of artifice that permeates Guidi’s work. The framing is carefully crafted, but it never appears over-calculated or laborious. His photographs possess an almost effortless elegance—the kind that arises not from a desire to seduce or persuade, but from a quiet clarity of intent. They offer us a delicate balance between truth and composition.Funny Youre Not Crashing Out White Boy Youre Losing Your Marbles Shirt
AG: You chose to disassemble Guidi’s photographic series, selecting individual images and allowing them to converse through “poetic and formal tensions.” It’s a bold, almost musical decision. How did you go about composing this visual score? AR: For years, certain photographs by Guido Guidi haunted me—I kept returning to them in my mind. I realised that some of them were profoundly mysterious, far from descriptive, with an elusive, almost intangible quality. I began to piece them together mentally, intuitively connecting the dots. Later, as I studied his work more closely, I discovered that Guidi himself had explored this kind of intuitive narrative in books such as Tra l’altro (1976–81), Veramente, and more recently, Di sguincio (1969–81). However, above all, it was his book, Lunario, that inspired me and convinced me that this was the path I wanted to follow for the exhibition. Lunario, published in 2020, brings together photographs taken between 1968 and 1999, arranged around the suggestions evoked by the moon—tracing within the images the visual echoes of its form. It’s a book that bypasses traditional genre distinctions in favor of a lyrical sequence of images suspended in time. I was convinced that this quality—the lyrical rhythm, the openness—was essential to his entire body of work, and that it could serve as a valid method for constructing the exhibition.
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