Aldo Sessa at the Museum of Modern Art of Buenos Aires
Aldo Sessa's Archive 1958-2018: 60 years of images will present more than 700 photographs shot between 1958 and the present of the celebrated Argentine photographer.
The exhibition explores the infinite paths of Sessa's work, his multiple interests and investigations over sixty years of artistic production. It presents an artist who has not stopped in the eagerness to surpass himself and transform himself through the lens that gives him back every situation he chooses to capture. We'll discover an experimental Sessa, explorer of the techniques made possible by the various cameras of history, from the nineteenth century models to the cell phones of the present, and a Sessa researcher of abstractions, who never distance themselves completely from reality.
The exhibition is also another chapter in the long dialogue between Moderno and the artist. Back in 1972, Rafael Squirru - founder of this Museum - wrote the prologue for Sessa's first exhibition of paintings at the Bonino Gallery: "Synthetic painting, metallic colors, the same metal plate enter his work with the docility of the tamer who knows well the reactions of his tigers. For this to happen, there is no doubt that Sessa had the constancy of the authentic experimenter ". Then, Hugo Parpagnoli, Squirru's successor, incorporated some of his works when creating the museum's photographic collection and Guillermo Whitelow, third director of the Museum, dedicated several texts and exhibitions, which began in 1976 with a large selection of his first paintings, in the room of the Museum located then in the San Martín Theater. Fifty years later, the Moderno updates this exchange. Through the assembly design created by the Brazilian designer, scenographer and filmmaker Daniela Thomas, the spectator will be enveloped by Sessa's gaze, which goes beyond the famous photographs that have been the main object of his books. to his images of the Buenos Aires of the 1950s and 1960s; to his journey through photojournalism since the seventies; to his search for magical moments behind the scenes of the Teatro Colón, between 1982 and 1987; to his research on the portrait; to his obsession to rediscover the secrets of New York; to his insatiable curiosity, expressed in his travels through Argentina, England, Israel, Turkey, Egypt, Morocco, Thailand and India, among many other destinations; to the details of their still lifes and to the pleasure that the image that results from the abstraction of the world or from a composition studied in the privacy of their workshop.