Private Rooms

Private Rooms

Citation preview

GUIDO ARGENTINI PRIVATE ROOMS

2

3

As for every man, my life is driven by an energy that follows a straight line while is always looking beyond in order to anticipate new targets. As I raced toward the future, I was always fascinated by the feminine universe, by its circularity, by its capability of simply “being”. The woman is close to earth and to nature, she is aware of the present moment and she has the capacity to live in this present rather than in a projection toward a future that relentlessly continues to be just that: these are elements that always made me sense her superiority. The woman is the carrier of life; thanks to her energy and intrinsic power, ancient civilizations always considered her superior to man. The first spiritual and religious acts raised her status to a divine level and for a long time art glorified the power and sacredness of a woman’s body as well as the feminine sexuality. To display, paint or photograph the naked body of a woman is often seen as something indecent in today’s society. Morality and the influences dictated by increasingly oppressive religions and society rules have turned what used to be sacred into something obscene. Someone once asked Picasso where he drew the line between sexuality and art. He replied: “they are one single thing, they are one and the same. Art can only be erotic”. In addition to being the source of artistic inspiration, the feminine element is the only chance that man has to grow spiritually. Thus, the eulogy of feminine beauty, as superficial as it may seem, is part of my own desire to grow. We never stop to try to understand why and how we got to where we are. Publishing a book is a wonderful excuse to do just that. I deliberately chose to write the name of each subject or subjects portrayed as well as the place and the date on which I shot the photographs at the beginning of each “little story” that makes up the book. Our past is what we remember of it: Therefore, in addition to providing a time frame for each picture, these dates help me to recall a part of my personal story. When we come into the world and during our childhood, we are faced with unlimited possibilities. Then, as we grow into adulthood, we are educated to become aware of our limits. Creating something, be it through writing, painting, composing

4

music, directing a movie or taking a photograph, helps us overcome these fake barriers. Said limits and barriers actually do not exist, they are imposed upon us and more often than not, they keep us imprisoned for all our life. We are almost always actors playing out our life without knowing how life really should be. We are given one page of the screenplay at a time and we act it out as robots; however, we can never see nor understand the significance of the whole story. We hardly ever manage to write this screenplay ourselves, to create our own role – it is always imposed. Once in a while, we may complete a project after working at it extensively and we may get an illusive sensation that we have been, at least for a while, the screenwriters of our own life. This second book is the result of ten years of photographs, all taken in the intimacy of closed rooms. Ancient villas, modern apartments, numerous hotels, from the most elegant five-star locations enriched with luxurious velvets and four-posted beds to the most squalid hourly-rate motels furnished with plastic chairs and worn-out wallpaper. Each room is the stage of an “open story” with no beginning or end. To the contrary of a movie, a photograph leaves total room for the imagination of the viewer. Anyone can imagine what occurred prior to the click and what will happen right after. Anyone can write his or her own screenplay and dialogues and compose his or her own soundtrack. The women portrayed are of various nationalities and ages. Some are professional models, others found themselves in front of my lens only as part of a game. Some of them I’ve only met once… others are dear friends of mine. No actresses, no top models, no p