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拍品专文
A work by Prini that I consider to be exceptional: the photo Movimento Parigi 1971 (Movement Paris 1971), from an edition of two, known by us collectors as “Motorinmoto” (Motorinmotion). Very well known and published in the catalogue Zero to Infinity. Arte Povera 1962-1972. Through photographs, Prini reveals his strong personality and originality. In this photo taken in Paris, using special developing techniques, he has managed to convey the impression that the "machine" at the centre of the image is vibrating as it starts up.
The back of the photo is a tangle of Prini's writings, which are like his work: seemingly undecipherable. He writes and re-writes on the back of many cards: not to communicate, but perhaps to affirm some sort of paternity.
It has seemed to me, in all the years that I have followed his works and their possible "meaning", that Prini was very interested, in his expressive universe, in experimenting with space and time, in an attempt to reconnect the aesthetic experience with an experience of the duration of time (intended in the sense of "lived").
My enthusiasm for the works of Prini, by whom I only collect works on paper and photos, is linked to various factors that I have already explained. What I haven't underlined, however, is the considerable difficulty in tracing works by him that are documented and of certain
provenance.
The back of the photo is a tangle of Prini's writings, which are like his work: seemingly undecipherable. He writes and re-writes on the back of many cards: not to communicate, but perhaps to affirm some sort of paternity.
It has seemed to me, in all the years that I have followed his works and their possible "meaning", that Prini was very interested, in his expressive universe, in experimenting with space and time, in an attempt to reconnect the aesthetic experience with an experience of the duration of time (intended in the sense of "lived").
My enthusiasm for the works of Prini, by whom I only collect works on paper and photos, is linked to various factors that I have already explained. What I haven't underlined, however, is the considerable difficulty in tracing works by him that are documented and of certain
provenance.