Born 1969 in Washington D.C, I graduated in Italy from Federico II University in political science. I'm Photo Lab Technician and research assistant at University of Naples Audiovisual Research Center (Faculty of Sociology). Main research subjects are ROM's identity, urban daily life, street photography, live music… Read More
Born 1969 in Washington D.C, I graduated in Italy from Federico II University in political science. I'm Photo Lab Technician and research assistant at University of Naples Audiovisual Research Center (Faculty of Sociology). Main research subjects are ROM's identity, urban daily life, street photography, live music, theatre, performing arts.
Intimamente Festival, Caserta 2012 (broadcast program)
Esfoto 12, El Salvador 2012
Re-visualizing the city (IVSA), New York 2012
PICS Festival , London 2012 (multimedia)
Tekne‘ Arte Contemporanea, Potenza 2010
Galerie 88, Paris 2010
GiuBox Gallery, Naples 2009
Centro Cultural Rojas, Buenos Aires 2009
Casa della Pace, Milan 2009
Parcours Artistique du 3e, Paris 2009
Galerie 52, Paris 2009
Istituto Italiano Cultura/Altrimenti, Luxembourg 2008
N.est-Madre Museum, Naples 2008
Istituto Italiano per gli Studi Filosofici, Naples 2007
Apparamment Cafe‘, Paris 2007
Institut Francais de Naples, Naples 2006
Universita‘ Federico II, Naples 2006
Museo di Santa Chiara, Naples 2005 Read Less
pino bertelli about ME
ABOUT THE PHOTOGRAPHY OF THE MARGIN
While Paris was occupied by Nazi men … a General of the Gestapo called Picasso and showed him the painting representing Guernica. Picasso painted it after the small Basque town had been bombed by Hitler’s airplanes. The General showed the painting to t… Read More
ABOUT THE PHOTOGRAPHY OF THE MARGIN
While Paris was occupied by Nazi men … a General of the Gestapo called Picasso and showed him the painting representing Guernica. Picasso painted it after the small Basque town had been bombed by Hitler’s airplanes. The General showed the painting to the painter and told him: “Are you the painter?” Picasso answered “No! you are the painter”. In 1939 Nazi-Germany invaded Poland. In a bomb hole there was a Polish injured soldier. A young Nazi was holding a gun to his head to finish him off when the sky opened and God arrived! He told the young Nazi-man: “Stop miserable, what are you doing? Don’t you know the man you are going to kill may become a father? The young Nazi-man : “And so?” “You, later!” God answered. Once upon a time or maybe not…..on the coasts of Catalonia, in Spain, a young fisherman of special seafood, no-one could fish.., was selling his seafood one by one to poor families living in his area. Once the richest businessman in Barcelona, told him: “ Hi guy, fish such your seafood for me … I’ll buy it and pay double… I’m going to bring it to the best restaurants of the town”. The young fisherman answered: “No Sir, I like selling it to my favorites” the man asked: “Why? the less you work the more you gain”. The boy answered: “Because I’m the owner of my poverty”.
ABOUT THE PHILOSOPHY OF THE MASK
The photography of the margin or of the street has no owner no country… men always look at the ignorance wrapping them and the fear scaring them…..to look does not mean see and take photos, it does not mean selling banalities presented as art… art, as patriotism, is the last carrion’s way of escapism. The photography is the atlas of the know-how, a human cartography, a poem of the broken beauty….or nothing more. The merchants of the temple know it well… and there are not many photographers giving voice and shape to subjects facing the mobile camera transforming themselves into individual narrators….at this point the photographic script stops to be a ritual or a narcissistic abstraction to become a “mirror” and a “trace” of the history.
Maurizio Cimino is a photographer of daily life free of any artifact and ordinary banality….it is not difficult to look at his black and white work, what is difficult is to understand the complex poetic texture, consequently his look investigates and collects eternal truths. Cimino’s street imagines are masks (faces, marks, sounds..) destroying the tradition of the reportage as journalistic tale and are also out of academic schools …..Cimino’s free vision makes reference to the masters of the carpe diem on the pavements of the world (William Klein, Josef Koudelka, Robert Frank above all) but it is the destructuration of the canonic imagine which is declining and without esthetic strangeness he denounces the use of the power in his society.
In the ancient eastern theatre, “mask” means person and behind the fiction or vision of the mask love, diversity, tenderness of beautiful souls go over the borders of innocence and becomes the divine capability to fly over the reality and outside the fancy.
The soul of the mask saves and delights loving hearts as regards the iconic revival of the androgenic time which preserves the “always and never” treasure of love. Love satisfies the different and the similar. We love because of the shame of the star tears and for the “no-shame” of the kisses poisoned with lime…..love, as the mask, belongs to the imaginary world free of conventional and pre-established rules. Love me and make with me what you like: give me your mask and I’ll give my personality. This is what we can read, I think, in the photographic narration of the photographer from Naples.
Cimino’s philosophy of the mask is framed in a loving melancholy carved on the bodies, faces, gestures….of his portraits and if this is not right, it does not make any difference. As fancy belongs to love and love is a cross of events, beauty, bread and roses where any act is not pure, change into masks and transform the blood on the moon into a suitable target, and an extreme form of happiness, which could be worth to live or to die. Cimino’s wet and dusty paper masks are men, women, streets, ordinary breaths and before transmitting the secret angels’wings and telling about the irreverent ghostly spirits of the land, they show the breath of the things and can make anyone becoming child again. The mask has no land...
...Cimino’s art of photography works about the research of a different interaction between imagine and social behavior. His photographs are the revival of a thought which bares the responsibility of the power….the photographer knows that the mercantile economy is supported by a collection of performances, amazing languages, and the social relationship among people is mediated by imagines. “The show in its totality is, at the same time, the result and the project of the existing way of production” (Guy Debord). The show is the language of the power, it is the dominating communication which becomes goods. The culture of the show is the continuation of the war through other tools...
...Those who are non-confessional, don’t feel part of a group of unbelieving, they only love beauty and freedom which represent the dreamt life by angels who announce a future community. Cimino’s photographic scripts of the margin work on the detournement and exhaustion of the imagine….and reveal the language of the decomposed domain….represent a critic of the whole and on another side they poison the pillory of the ideologies and religions…they turn over a world which aims to a rational reorganization of any aspects of life and make the insignificant the central point of any fall….the historical decomposition of any kind of negotiating art is filtered by the demolition of malevolent silly people who pretend to be thinkers and support the circulation of the photographic reason among the literary entertainment salons. ..
Pino Bertelli (Reporters sans frontières) Read Less