The representation of reality as a morphoplastic and conceptual component that dictates the mystical amalgamation of the existential processes of man and the world, constitutes perhaps the most independent creative moment for the artist who, through personal dialogue with his inner self, essentializes the transfiguration of realistic contexts into artistic expression.
![Guido Guidi, “Cervia”, 1983 © Roberta Bosco, [23 dicembre 2021], riproduzione riservata, courtesy MAXXI Museo nazionale delle arti del XXI secolo](https://www.juliet-artmagazine.com/wp-content/uploads/2025/01/guido_guidi_col_tempo-img-300x169.jpg)
Guido Guidi, “Cervia”, 1983 © Roberta Bosco, [23 dicembre 2021], riproduzione riservata, courtesy MAXXI Museo nazionale delle arti del XXI secolo
The multiplicity and diversity of Contemporary Art, inaugurates new aesthetic characteristics that confers new functions and content in artistic significations. Photography as a cultural object and experienced authenticity inaugurates a new realization consenting to decoding and reinterpretations of the visible. The convergence between Art and Photography that began in the 1960s shifts the interest of artists to a reshaping of the visual experience that is equivalent to a kind of representational subjectivity under the prism of which the image is transformed into an entity of meaningful signs concurrently a visual point. The artists-expressors seem to apprehend the philosophy of a language that not only aims to highlight the designation and the perception of the manifestations of reality but also to reshape, at times associatively, its aspects.
![Guido Guidi, “Cervia”, 1983 © Roberta Bosco, [23 dicembre 2021], riproduzione riservata, courtesy MAXXI Museo nazionale delle arti del XXI secolo](https://www.juliet-artmagazine.com/wp-content/uploads/2025/01/2-300x225.jpeg)
Guido Guidi, “Cervia”, 1983 © Roberta Bosco, [23 dicembre 2021], riproduzione riservata, courtesy MAXXI Museo nazionale delle arti del XXI secolo
In his work Guido Guidi, mentions, recomposes and summarizes through a personal idiom directly related to Neorealism and Conceptual Art, personal formulations but concurrently universal, with the intention of giving prominence to the character and the essence of the momentary. Guidi’s visual polysemous language converses with the unique wholeness of landscapes and objects that reflect intuitions of symbolic extensions. The exhibition Col Tempo 1956-2024 at the MAXXI in Rome dialogues with Guido Guidi’s self-referentialities that accentuates not only unpublished aspects of his work but also features his personal path, being ultimately consistent with the expression of a reality, a fortiori trenchant. However, the citation of crucial stimuli reveals the multifaceted individuality of Guidi’s praxeology, which although a photographer, nevertheless also interacts with other art forms that undoubtedly contribute to the consolidation of his personal vocabulary.

Guido Guidi, “Usine Duval”, 2003, courtesy Galleria 1/unosunove, Roma; “Minerbio”, 2023. C-print a contatto da negativo 20 x 25 cm su carta politenata 24 x 30 cm, courtesy Viasaterna, Milano e MAMbo – Museo d’Arte Moderna di Bologna, © Guido Guidi
The depictions and reflections of the Italian landscapes balance between a representational realism and conceptualism, combining the authenticity of the expression with the sine qua non experiential truth. Contemplation and observation constitute the fundamental elements for the observation of Guidi’s images. In the 1970s, the exploration and recording of marginal spaces that have occasionally been altered by human intervention, inaugurates for Guidi an emblem and reference to personal and collective stories through which he appropriates the essence of transitory and of memorabilium that redefine it. The narrative of the aspects and signs of contemporary architecture from the beginning of 1980s decade to the end of 2000s decade, initiates for Guidi an awareness of a peculiar fragility. The uniqueness of the aesthetic interaction between landscape and architectures and the sequence of light and shadow, consents to the imposition of an internal and subjective spacetime.

“Guido Guidi. Col tempo, 1956-2024”, installation view at MAXXI Museo nazionale delle arti del XXI secolo
The dynamics of personal reflections and the depiction of landscapes and landmarks determinate a field of interrelation and modification of images into interexperiential silent incidents that trace the reception of picture’s testimony to a combination of objectivity and personal idiosyncratic ingenuity. The present reality of Guidi’s images, which sometimes converse with fragments of the past, pinpoints the concept of alteration, contributing to the cultivation of emotions from the viewer’s side but additionally a sensitivity that arises from the perception of the ephemeral, which nevertheless acquires a significant timelessness.

“Guido Guidi. Col tempo, 1956-2024”, installation view at MAXXI Museo nazionale delle arti del XXI secolo
The Col Tempo exhibition as an autonomous artistic result constitutes the synthesis of a personal work and an osmosis with the mystery of art. The idiosyncratic experientiality of the depicted points in the light of a continuous, perhaps catalytic and manifold conversation with the genius loci, inhere constantly in every photographic impression of Guidi. By means of exploration, of passion for recording and for narrative potential as a starting point, Guido Guidi emerges as a fervent supporter of the metamorphosis of traces and finally of historical, natural and individual life. The deepening of the terms of reality, of the essence of inner consciousness and the multifaceted role of transitions, intensify the genuineness of the style that becomes crucially existential, fundamentally multifaceted and interminably real.
Nektarianna Saliverou
Info:
Guido Guidi. Col tempo, 1956-2024
13/12/2024 – 20/04/2025
curated by Simona Antonacci, Pippo Ciorra, Antonello Frongia
MAXXI Museo nazionale delle arti del XXI secolo
Via Guido Reni, 4a – Roma
www.maxxi.art

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