For more than fifty years, the images of the Pirelli Calendar have been a part of our culture, as few other projects with photography in the leading role have been witness to particular changes, new fashions, new ideas and many creative and technical inventions. Today we can see how reality has changed through the eyes of the greatest photographers, as the way it is depicted has evolved. The aim of this exhibit, however, is to set aside chronological order for a moment, set aside the sequence of the years articulated by calendars, forget references to time, all through a process of critical reading that can propose a new dialectic made up of relations, analogies, citations and contrasts between images.
It sometimes happens that, when talking about photography, it is forgotten […] that several crucial moments in the history of this tool were created through the specific commission of a private company.Walter Guadagnini
Through these images, it’s easy to remember how photography narrates the romantic discovery of nudity and the modesty of intimacy, […] elegance and timeless beauty.Amedeo Turello
The Charm of the World
There are two fundamental elements that are intertwined in the images on display: landscape and the attitude of the models. Landscapes are both tropical paradises and the internal settings that are seen in the series by Sarah Moon. They are places that recall cult scenes from Love Story and the early James Bond films where models lay claim to their nudity in front of the lens by John Claridge, Herb Ritts, Peter Lindbergh, Bruce Weber and Mario Sorrenti.
The Photographer and His Muse
The role of the muse and a constant reference to historical citations of past art. Images become new versions of the Nordic collective imagination with classical culture in the work of Karl Lagerfeld, homages from Arthur Elgort who celebrates the Olympics and the work of Leni Riefenstahl, inspirations with Clive Arrowsmith and his references to Delacroix. Mythological figures find a place in the photos by Joyce Tennyson and Richard Avedon.
Provocation as play. Transgression that is mixed with irony. A series of images where seduction and humor move together in the double entendres of Harri Peccinotti, in the eroticism of Terry Richardson, in the fetish imagination of the pair Brian Duffy – Allen Jones, in the voyeurism of Helmut Newton, as well as the flirtatious photos by Mario Testino, Bruce Weber, Patrick Demarchelier, Alas & Piggot.
The Nature of Artifice
Reality becomes geometric shapes in the photographic modernism embodied by the metamorphosis of things due to changes in framing. These principles are the basis for the images by Peter Knapp and his reconstruction of the world, the shapes dictated by Uwe Ommer and Nick Knight and the rhythms staged in the work by Barry Lategan in an experimentation that surpasses the genre of composition.
When the body takes the stage, the people, places and clothing become stage and film set. From the photos in 1985 by Norman Parkinson moving on to the work by Bert Stern and Patrick Demarchelier, nothing stays hidden to the eyes of the spectator. With the most recent calendars by Peter Lindbergh (2002) and Peter Beard (2009), the spectator is called to reflect upon the boundaries between reality and its projection.
For more than fifty years the images from the Pirelli Calendar have been a part of our culture. Created by the greatest photographers in the world, year after year they have narrated changed in the…
Milan, 18 November 2014 – The 2015 Pirelli Calendar was presented today to the press, guests and collectors from all over the world at “Pirelli HangarBicocca”, Pirelli’s space for…
The exhibit “The Cal – Pirelli Collection, Form and Desire” was presented in Milan, a selection of over 200 photographs from the Pirelli Calendars from its inception in the ‘60s to today….