Paolo Gasparini (1934). - Nativos Cuba, 1965.

Paolo Gasparini (1934). - Nativos Cuba, 1965.
Zilvergelatinedruk - Gestempeld - 1965

Dimensions: 23 x 16 cm/approx.

Impressive photo of the great photographer Paolo Gasparini, his work is in the best photography museums in the world.

The photos he took in his time in Cuba are highly sought and quoted by museums and private collectors.

This photo belongs to the collection of photos he made titled "Cuban Environment", which was exhibited in Havana in 1965.

The photograph bears the artist's stamp, also from Cuba's "Bohemia" archive and various dates when the photo was taken from the archive to be used for any publication, but the date the photograph was printed is 1965, the year of the exhibition made by Paolo Gasparini.


The true story of Paolo Gasparini offers a tight compendium of the deepest social and aesthetic concerns of an Italian photographer with life spread between Caracas, Trieste, Havana and Mexico City. Here the history of his images, the dialogue between the past and the present, with the life of the cities and their "asomados" appears recombined, in a book carried by the photomontage game. This experience by Gasparini (1934), published by La Cueva, a Venezuelan publisher specialising in photobooks, is accompanied by the critical gaze of Juan Antonio Molina, Ricardo Báez's design. And to say photomontage here also refers to the Italian fotoracontti, so related to Gasparini, that is, the wise combination of photography and story in order to reconstruct the traces of his own world, each of its times. An autobiographical work, the chronicle of the ideological defeats on reality, the voice of the margins in Latin America that expresses itself with its own vitality, in its natural settings, laughing, without raising its voice, without militant poses, or epic stories. Underneath all of the above, there is something more discreet in this personal story of the National Photography Prize (1993): the passion for looking at bodies and their colours, with all their persuasive power, from a long succession of cropped photographs and even off-centre. Yes, images on images integrated with words and design, embedded stories that show how lives can sustain themselves “alma y aguante” in poverty and undervalued landscapes.
Gasparini's new editorial adventure concentrates his passion for the archive, memory, travel, and the certainty of the person who says that I am passing by with his camera around here and gives his testimony. From this very personal enunciation, the photographer who cuts fragments of the world speaks to integrate them to his most personal concerns, governed by the passion and drive of return, the return trip revived.

Paolo Gasparini. Gorizia, Italia, 1934. He lives between Caracas, Mexico City and Trieste. He began photography at the age of 17, in Gorizia. His first photos represent the social reality of the post-war period and are linked to the cinematic aesthetic of Italian neorealism. He emigrated to Venezuela in December 1954 where his brother Graziano Gasparini (architect and also photographer) lived. In Caracas he joins the “movimiento de la modernidad”. He works as an architecture photographer with Carlos Raúl Villanueva, Tomás Sanabria, Martín Vegas and José Miguel Galia and Dirk Bornhorst. Collaborate in the architecture magazine: A, hombre y expresión, directed by Villanueva, Juan Pedro Posani and Ramón Losada. In the same years he travelled the country photographing places and ways of life in rural areas. In February 1960, Paul Strand and Hazel Kingsbury travel to Venezuela to stay with Paolo and Franca Donda. For 15 days, the couples travel through the west of the country. On that occasion, Strand advises Paolo on the proposal of a book on Venezuela. Around this time, Gasparini is interested in the photos of Robert Frank and in the photo essays of William Klein. Between 1961 and 1965 he lived in Cuba. He collaborates with the Monday of the Revolution supplement, directed by Carlos Franqui and in the National Council of Cuban Culture. Photograph the literacy campaign, the harvest and the daily chores of the first years of the revolution, which Gasparini calls: “La última utopía de la izquierda”. On the island, he joins the euphoria of exalting audiovisual narratives of Castro fiction - the Cuban party, music, and “las mulatas”, paraphrasing Gasparini- through the documentaries by Chris Marker, Agnés Varda, Santiago Álvarez, Tomás Gutiérrez Alea and Joris Ivens. He works with the French playwright, poet and filmmaker Armand Gatti in the film El otro Cristóbal (1963) [1] and with Alejo Carpentier, he travels through Havana recording “la ciudad de las columnas”. From 1965 to 1967 he lived in Italy. Photograph the Friuli region doing the series: Miracolo italiano. He returned to Venezuela in 1967. Along with Edmundo Aray, Ramón Palomares, Duda Ferrari and Efraín Hurtado co-edited Rocinante (1968-1971); a publication committed to the political project of the country's armed struggle and dissents from the communist party and the Movement to Socialism (MAS). At the same time, he registers buildings and street demonstrations in Caracas. Between 1970 and 1972 he is hired by UNESCO, together with the Argentine art researcher Damián Bayón, to develop the project: “Panorámica de la arquitectura latinoamericana”. It travels all the countries of Latin America capturing emblematic buildings that distinguish modern architectural art from the continent. It documents, simultaneously, the daily life of the inhabitants in the cities and their suburbs; photographs that he uses in his first photobook: Para verte mejor América Latina (1972). In 1976, together with the researcher and promoter of photography in Venezuela, María Teresa Boulton created La fototeca (1976-1979), [2] first gallery and bookstore specialised in the same discipline in the country. On the recommendation of Strand in the 1970s, he established a relationship with the Mexican photographer Manuel Álvarez Bravo and began photographing the Aztec territory. Gasparini constantly crosses the old continent and the new world: “El otro, Otro mundo”, spatialising the routes and transcribing their tracks into images. In sixty years of photographic activity he has represented the social contradictions, the political tensions of the inhabitants who transit, live or work in the great metropolises, not only Latin American, for example: in Mexico City, Sao Paulo or Caracas, but also in New York, Berlin, Los Angeles, Paris or London. It registers all the voiceless that the public sphere paradoxically excludes: immigrants, miners, prostitutes, women, children, beggars, old men, devotees, the suffering, the supplicants, "los asomados", [3] street vendors or cripples. To vertebrate his works he uses three medial devices: he makes photowalls and “gigantografías” in exhibitions, he uses the audiovisual format and photobooks. Her photographs have been printed by Carlota Blanco Tovar, by Italian-Venezuelan filmmaker Franca Donda and currently copies are made by Mexico's Araceli Cortés. Gasparini has been a guest researcher at: Urban Culture Program of Mexico City, (1994) -in this opportunity he mapped the metropolis by the researcher Néstor García Canclini-; by The Getty Research Institute for the History of Art and Humanities, Perspectives on Los Angeles project: Images, Narratives, History, Los Angeles (1997) and by the Rockefeller Foundation: Construyendo la Democracia: Ciudadanía, Nación y Experiencia Urbana Contemporánea, Campinas State University (1997). He has received several awards, including: Contributions to Neorealism, magazine Cinema Nuovo and el Referéndum Popular, Spilimbergo (Italy), 1953-1954; Silver medal, XV Encounters of Arles, 1984; Artist of the Year, awarded by the International Critics Association (AICA), Venezuela, 1990. Premio Nacional de Fotografía, Venezuela, 1993 and the International Award of photography of the CRAF, Centro di Ricerca ed Archiviazione della Fotografia, Spilimbergo, 2000. Paolo Gasparini's works are part of the following collections: National Library of Paris, Museum of Art? Reina Sofía, Museum of Modern Art of New York (MoMA), George Eastman House, International Museum of Photography and Film, Centre for Contemporary Art, Fundación Televisa, Centro di Ricerca ed Archiviazione della Fotografia (Spilimbergo ), National Library of Venezuela, Museum of Fine Arts of Venezuela (MBA),? National Art Gallery of Venezuela (GAN), Paul Strand Archive, University of Arizona (Tucson) ,? of the Metropolitan University (Itzapalapa, Mexico) and House of the Americas (Havana). [1] With Gatti establishes a close friendship. They will work together from 1962 until Gatti's death in 2017. [2] According to María Teresa Boulton, The fototeca library in 1978 becomes: Consejo Venezolano de la fotografía. In conversation with the researcher, May 25, 2017. [3] Gasparini calls people who are out of place “not necessarily immigrants or exiles” "asomados", and to describe them he uses the Venezuelan saying: those who feel like "cockroaches in chicken dance”.
Mora about Paolo Gasparini

Paolo Gasparini was born in Gorizia, Friuli, Italy on 15 March 1934. He lives and works in Venezuela.

Gasparini has extensive experience as a photographer; his work has served as a horizon, inspiration and debate for many of his colleagues.

During World War II, Paolo Gasparini remained in his hometown "... walking between collapsed houses and loose horses, I got into a war materials depot and opened a trunk. It was full of photographs of war actions, of corpses of hanged men, of barbed wire, of partisans and dead civilians... This story: war, occupation, trains, returnees, partisans and the images of the trunk were definitely left in my vision and in my consciousness. From them I had the complete conviction that my life would have something to do with the images and, at the same time, that no one can escape history”.

In 1951 he travelled for the first time to Venezuela. He began to frequent small artistic and intellectual groups made up of young people of his generation who seek to carry out political and cultural training activities beyond his circle of provincial and conservative origin. From 1953 to 1954 he learned the photographic technique with the photographer Mazzuco in Goricia. He is member of several photoclubs in the city and exhibits his works. In these photographs of neorealist aesthetics, his marked social interest is already visible.

In 1955 he began his activity as an architecture photographer and opened in Caracas the studio Arquifoto. From then on he begins to exhibit individually and collectively in museums and galleries around the world.

Some of the most important solo exhibitions by Paolo Gasparini are: In 1961, Rostros de Venezuela, Museum of Fine Arts, Caracas; in 1963, 111 photographs of Paolo Gasparini: Ambiente cubano, Havana Gallery, Cuba; in 1965, Cómo son los héroes, Gallery El techo de la ballena, Caracas, Venezuela. In 1978 he participated with Josep Koudelka in Como la vida: Photograph of Indios y Gitanos at the Gallery La Fototeca, Caracas. In 1984 he presented Metrópoli, Márgenes y Asomados in the House of Ecuadorian Culture Benjamin Carrión de Quito, Ecuador and Epifanías, in the Saint Luce space, XV Meeting of Photography (RIP) of Arles, France. In 1985 he exhibited Campo de imágenes at the Museum of Modern Art in Mexico City. From 1988 to 1993 he exhibited in Venezuela Retromundo, Fábrika de Metáforas and La Pasión sacrificada, with the latter, he participated in the Venezuela Pavilion at the XLVI 1995 Venice Biennale.

Among the awards and distinctions that Paolo Gasparini has received throughout his career there are the Silver Medal at the XV International Photography Meeting in Arles, France (1984), the Artist of the Year Award from the International Association of Critics AICA, Venezuelan Chapter, Caracas (1990) and the 1993 National Photography Prize of the National Council of Culture of Caracas.

Paolo Gasparini (1934).
Titel van kunstwerk
Nativos Cuba, 1965.
Datum van afdrukken
Vintage afdruk
23×16 cm
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