{"id":24984,"date":"2025-03-05T11:47:04","date_gmt":"2025-03-05T10:47:04","guid":{"rendered":"https:\/\/mario-amura.com\/?p=24984"},"modified":"2025-03-20T08:59:10","modified_gmt":"2025-03-20T07:59:10","slug":"fotoit-autori-mario-amura","status":"publish","type":"post","link":"https:\/\/mario-amura.com\/en\/fotoit-autori-mario-amura\/","title":{"rendered":"FOTOIT – AUTORI – Mario Amura"},"content":{"rendered":"
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by Giovanni Ruggiero<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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We imagine fireworks dancing in the sky, competing with the stars. They rise high, then let themselves go, surrendering, and finally dying in the night, like Narcissus in the lake where he once saw his reflection.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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These are languid dancers\u2014not wild, frenzied spirits unleashing a mad, frantic dance\u2014like the fireworks that Mario Amura has been photographing for fourteen years beneath the sky of Naples, in front of Vesuvius. In the twenty minutes following the stroke of midnight on December 31, it is as if a propitiatory dance takes place. Everything explodes into a luminous sarabande. And when this happens, since 2010 the photographer has been there, on Mount F\u00e0ito overlooking the volcano\u2014a distant black silhouette\u2014and on the concrete expanse of the Vesuvius towns. Soon, everything will turn into a radiant, dazzling, fiery magma.\nAccompanying Mario Amura are some lifelong friends engaged in an open, collective work, still in progress, following his instructions. The photographer directs their shots while his friends comply. Long exposure times and the movement imparted to the camera\u2014sometimes swaying, sometimes oscillating, sometimes making abrupt shifts, sometimes gently rocking\u2014are key. Thus, the lights of the fireworks, distinct against the dark sky, blend together and merge, evoking an apocalypse, as it might be if Vesuvius were to erupt and rebel.\nIt is called \u201cNapoli Explosion\u201d (or \u201cNapEx\u201d), this \u201ccollective reportage\u201d that transcends the banality of mere representation. Just like a true reportage, it starts from reality, but soon transforms it. \u201cNapEx\u201d is the fantastic and magical documentation of a real event.\nThis endless expanse of concrete, however, is made up of people with feelings, fears, desires, and aspirations. One must consider that behind every light, big or small, and behind every flash, there is a person who, through these fireworks, expresses and exorcises his fear of the dreaded yet beloved volcano known to Neapolitans as \u2018A Muntagna. \u201cWhile Vesuvius remains silent,\u201d says Amura, \u201cthe city unleashes itself in a propitiatory and even superstitious rite to ward off an eruption. Alberto Saporito, from Eduardo\u2019s \u2018Voci di dentro,\u2019 plays the elderly Zi\u2019 Nicola who, having abandoned words, expresses himself solely by launching firecrackers. In the way they decide to fire cannons and fireworks, I seem to recognize the motions of hope, fear, joy, and anger of the people.\u201d\nThis grand work, which for Mario Amura represents a new fusion of his identity as an artist and photographer, is offered in large images (1.60 x 2.40 m) mounted on lightboxes that illuminate them. It was presented at the Capodimonte Museum, in the dim light of the \u201cCellaio\u201d the hall that served as the New Year\u2019s Eve venue. \u201cNapoli Explosion,\u201d Sylvain Bellenger wrote for the occasion, \u201cis a work in which photography, painting, and pyrotechnic art converge into one single event. The main theme is not Vesuvius, which appears as a silent shadow, but the city overwhelmed by fireworks capable of transforming fear into joy. What Amura has aimed to capture over time is the relationship between photography and painting. The link between photography and light has become the central theme of his work. One must gaze at these images for a long time, immerse oneself in them.\u201d\nTwo works by Mario Amura will remain in Naples, the city\/the theater of his fireworks. \u201cNapEx 223181,\u201d featuring an imposing Vesuvius that seems to float in incandescent magma, published in these pages, has become part of the collection of the Museo e Real Bosco di Capodimonte. Another work, meanwhile, is part of the heritage of the Pio Monte della Misericordia. It will be exhibited in the seventeenth-century palace in the historic center, which, among other masterpieces, houses Caravaggio\u2019s grand canvas of the Seven Works of Mercy.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Lucania, 1995 \u00a9 Mario Amura<\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Maria, 1993 \u00a9 Mario Amura<\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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In \u201cNapEx\u201d converge the two paths that, coming together, led Mario Amura to photography. First of all, Henri Cartier-Bresson: he encountered him as a young man, and then cinema\u2014as happened to the same French master who was Jean Renoir\u2019s assistant. \u201cI understood from his photographs,\u201d says Amura, \u201chow powerful a single shot could be, and how evocative each image is. The beauty of photography, compared to other expressive forms, is that it allows you to narrate what is within you through something happening outside of you.\u201d\nMario Amura, essentially just over twenty, wanted to \u201clearn to see.\u201d Before Cartier-Bresson, it was as if he had never truly seen what was before him. \u201cI used to observe everything with emotional detachment,\u201d he says, \u201cwhile he was able to tell the story of a life flowing before my eyes that I had never known how to grasp. Photographing enhances the visual perception of emotions and marks the point of coincidence between what happens outside and what you feel inside.\u201d\nThis lesson is evident in all his early images collected in the volume \u201cFotografie 1995\u20131999.\u201d \u201cMario Amura,\u201d writes Serenella Iovino in the afterword, \u201cmoves among images with curiosity and discretion. Through images, he narrates his research, his way of seeing, his boundaries. Amura observes, and he is never \u2018visionary\u2019 or \u2018metaphysical.\u2019 He moves among things without lingering, allowing them to tell their story without emphasis, without aesthetic concessions to the fragment. His photos are not visual notebooks, but images detached from an individual biographical path. They are marks of a deeper, impersonal, collective experience\u2014the very same that we find in Ernesto De Martino\u2019s \u2018Sud e magia.\u2019 Of the South,\u201d she adds, \u201che is interested in the underground and pagan phenomena, those that settle and crystallize in the \u2018Christian-popular\u2019 collective memory: a neorealism with a Pasolini lineage.\u201d\nHis reportages around the world (Wuyuan, London, New Delhi, Istanbul, Kiev, New York are some of his destinations) have been realized with a humble eye. The humility of his gaze lies in entering the lives of others without presumption, without disturbing the equilibrium of any existence. In these lives, Mario Amura treads lightly. For example, consider how respectful the images of \u201cSleepers\u201d are, portraying the sleep-deprived poor of New Delhi. \u201cPhoto reportage,\u201d he says, \u201cis the only form of photography that interests me. Compared to photography that reconstructs, sets up, or redraws spaces and situations, I prefer one that draws completely from reality.\u201d\nThis humility with which he has carried out his many reportages\u2014some say his ability to become invisible while photographing, giving the photographed world the chance to express itself\u2014Mario Amura learned from cinema. After discovering Bresson, and as Bresson did, he knocked on the doors of cinema. He attended courses at the Centro Sperimentale di Fotografia, particularly the classes of Peppino Rotunno. The great director of photography used to start the day with his students by reading excerpts from novels, then imagining how to stage them in the most effective way. \u201cThis exercise of translating written pages into filmed images,\u201d the photographer explains, \u201cmade me understand that the humility of the gaze lies in being able to adapt one\u2019s eye to the story to be told, to the reality to be documented. Rotunno taught me that the director of photography submits his self to the altar of the story to be told.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Napex 223181 - 2022 (Collezione Museo e Real Bosco di Capodimonte) \u00a9 Mario Amura<\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Club 69, 2008 (Buenos Aires) \u00a9 Mario Amura<\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Sleepers, 2007 (New Delhi) \u00a9 Mario Amura<\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Ultimately, I learned to do this work in cinema to learn to see with eyes different from my own.\u201d In 2003, with the short film \u201cRacconto di Guerra,\u201d Mario Amura won the David di Donatello and later provided the cinematography for many directors such as Luca Guadagnino, Paolo Sorrentino, Vincenzo Marra, Sabina Guzzanti, and Paolo Genovese.\nPhotography\/reportage and cinema\/movement: two approaches that have never drifted apart over the years; in one way or another, they have confronted each other, echoing one another. \u201cNapEx\u201d is a symphony of movements frozen in time. Every single work is a frame of energy fixed in space. Just as cinematic movement and photographic stillness converge in the \u201cStopEmotion\u201d project. \u201cWith the advent of digital,\u201d says Amura, \u201cI began experimenting with narrative paths using streams of photographs taken in sequence. With this, I realized live performances in which I display the images in tune with the rhythm of the music that serves as the emotional backdrop.\u201d\nEverything is movement. The images dance, just as in the sarabande of fireworks around the totemic mountain.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Mumu - 2009 (Lightbox) \u00a9 Mario Amura<\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

We imagine fireworks dancing in the sky, competing with the stars. They rise high, then let themselves go, surrendering, and finally dying in the night, like Narcissus in the lake where he once saw his reflection.<\/p>","protected":false},"author":1,"featured_media":24980,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[210],"tags":[],"class_list":["post-24984","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-napoli-explosion"],"yoast_head":"\nFOTOIT - AUTORI - Mario Amura<\/title>\n<meta name=\"description\" content=\"Bellenger: Napoli Explosion - Quando mi hanno parlato di te, Mario, del progetto che stavi sviluppando sul Vesuvio, non potevo immaginare...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mario-amura.com\/en\/fotoit-autori-mario-amura\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"FOTOIT - 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