Tano D'Amico, Pablo Echaurren
Il piombo e le rose
Utopia e Creatività del Movimento 1977
Incontri series, 5
2017, Softcover, Italian
17x24 cm, 172 pages
1977, a story of forty years ago in the works of Tano D'Amico and Pablo Echaurren. A magmatic story, the one told in these pages made up of testimonies, memories, analyzes, emotions, images; a polyphonic, polycentric, plural, sometimes dramatic history, as was that of the '77 movement.
The authors of this book agree on the need to counteract forgetfulness, falsification, repression and mystification. 1977 cannot and must not be expelled from history. The latest mass vanguard that tried to collectively subvert society by keeping alive an idea of public happiness, of resistance to depoliticization, privatization, 1977 cannot be left to the victors.
(Filicudi, 1942) Professional journalist, photojournalist, he participated in the foundation of the newspaper Lotta Continua. Since the 1960s he has never stopped documenting protests. He has made reports on prisons, asylums, international conflicts (Ireland, Palestine, Somalia and Bosnia), migrants and Roma. Tano D'Amico's gaze differs from that of other photographers. He's the photographer of the powerless, of the defeated. His photos give dignity to those whose dignity has been taken away. He represents them with complicity, sympathy, participation. His black and white photos and the use of the 35mm lens are a precise stylistic choice.
(Roma, 1951) Italian artist, he began to paint under the guidance of Gianfranco Baruchello and Arturo Schwarz, his first gallerist. Since the seventies he has exhibited in Italy and abroad. In the eighties and nineties he made numerous avant-garde comics such as Caffeina d’Europa, one of the first graphic novels. His production developed under the banner of contamination between genres, art and applied arts, according to a design approach, both manual and mental, typical of the laboratory. The result is an idea of the artist as an all-round creator and inventor (painting, ceramics, illustration, comics, writing, video), indifferent to the boundaries and hierarchies that usually tend to compress creativity. His work has been featured in countless publications and solo exhibitions around the world.
Paolo Di Paolo, Michela Monferrini