FRANCO VACCARI

The theme of the trace and the photographic medium are two constants found throughout his entire work. In Traces, 1966, he presents photographs of graffiti as anonymous found poetry. From the outset, Vaccari does not use photography to produce mimetic, analogical images, but as the imprint of a presence, a signal, a physical trace or track of a being-there. In this sense, his project for the Venice Biennale of 1972, Exhibition in Real Time no.4: Leave on the walls a photographic trace of your fleeting visit is emblematic. The position of his artwork is tangential to several areas, but what perhaps best expresses its meaning is the term ‘conceptual realism’.

Vaccari has always accompanied his artistic activity with theoretical reflections, and has also published Duchamp e l’occultamento del lavoro (1978), Fotografia e inconscio tecnologico (1979) published in 1979 and translated immediately also in french. More recently has been published Duchamp messo a nudo. Daiready made alla finanza creativa (2009). He has shown in solo spaces at the Venice Biennale in 1972, in 1980 and again in 1993. In 2010 he participated to Strange Comfort at Basel Kunsthalle and he has been invited to participate at the Gwangju Biennial in Korea. In 2012 he participated to Derrière le Rideau – L’Esthétique du photomaton (behind the curtain, the beauty of the photobooth) at Musée de L’Elysée, Lausanne. In 2013 he has a solo show at Mostyn Museum, Wales (UK) and in 2014 Rumori Telepatici, a solo show at Fondazione Morra Greco in Naples. In 2015 he participated in the shows Opening: Sanja Ivekovic, Franco Vaccari at P420, Bologna, and to the show Ennesima, curated by Vincenzo De Bellis, at Triennale in Milano. He also participated to the show Take Me, (I’m Yours), curated by Hans Ulrich Obrist, Christian Boltansky, and Chiara Parisi at Le Monnaie de Paris (2015) and at Pirelli HangarBicocca (2017) co-curated also by Roberta Tenconi.

Courtesy P420