Aurelio Amendola

Alberto Burri. Combustione, Città di Castello

1976

Inkjet Print Fine Art on matt photographic paper

150 x 180 cm
© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Aldo Mondino, Calice Ligure

1973

Inkjet Print Fine Art on matt photographic paper

150 x 180 cm
© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

André Masson, Parigi

1986

Inkjet Print Fine Art on matt photographic paper

150 x 150 cm

© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Antonio Recalcati, Parigi

1971

stampa inkjet Print Fine Art su Carta Fotografica Opaca

105 x 150 cm
© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Enrico Baj, Vergiate

1983

Inkjet Print Fine Art on matt photographic paper

150 x 150 cm
© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Enrico Castellani, Velleno

1970

Inkjet Print Fine Art on matt photographic paper

150 x 150 cm

© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Fausto Melotti, Milano

1976

Inkjet Print Fine Art on matt photographic paper

150 x 150 cm

© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Giorgio De Chirico, Venezia

1973

Inkjet Print Fine Art on matt photographic paper

150 x 150 cm

© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Hans Hartung, Antibes

1986

Inkjet Print Fine Art on matt photographic paper

96 x 150 cm

© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Larry Rivers, New York

1976

Inkjet Print Fine Art on matt photographic paper

150 x 150 cm

© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Roy Lichtenstein, Haptoyn

1973

Inkjet Print Fine Art on matt photographic paper

150 x 150 cm

© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Piero Dorazio, Todi

1980

Inkjet Print Fine Art on matt photographic paper

150 x 150 cm

© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Marino Marini, Forte dei Marmi

1973

Inkjet Print Fine Art on matt photographic paper

150 x 150 cm

© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Michelangelo Pistoletto, Pistoia
1980

Inkjet Print Fine Art on matt photographic paper
150 x 150 cm

© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Mario Schifano, Modena

1982

Inkjet Print Fine Art on matt photographic paper

150 x 150 cm

© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

Andy Warhol, The Factory, New York

1977

Inkjet Print Fine Art on matt photographic paper
180 x180 cm

© Aurelio Amendola

 

MIA Photo Fair BNP Paribas 2025, Milano

 

Aurelio Amendola

© Aurelio Amendola

 

BUILDING TERZO PIANO, Milano

 

Aurelio Amendola

© Aurelio Amendola

 

BUILDING TERZO PIANO, Milano

 

Aurelio Amendola

© Aurelio Amendola

 

BUILDING TERZO PIANO, Milano

 

 

Aurelio Amendola

© Aurelio Amendola

 

BUILDING TERZO PIANO, Milano

Aurelio Amendola – MIA Photo Fair BNP Paribas 2025

20.03.2025 – 23.03.2025

MIA Photo Fair BNP Paribas
from March 20th to march 23rd, 2025
opening by invitation: Wednesday, March 19th, 2025
Stand B019 – Superstudio Più, via Tortona 27, 20144 Milan

 

BUILDING presents Aurelio Amendola, a selection of large-format photographs by photographer Aurelio Amendola (Pistoia, 1938), from March 20th to 23rd, 2025, as part of the fourteenth edition of MIA Photo Fair BNP Paribas. The exhibition presents a series of artist portraits taken by the master over the course of a decade, from 1970 to the early 1980s: an intimate and astute investigation of the faces that have made the history of the art of our time, investigated through his photographic lens.
The exhibition consists of 16 photographs of great artists of the second half of the 20th Century, both Italian and foreign, caught in a state of true immersion in their art, becoming the subjects of their own work. The series takes on the value of witnessing the everyday space within which these artists operated and developed their poetics. Among them, we find the likes of Alberto Burri (1915-1995), Marino Marini (1901-1980), Aldo Mondino (1938-2005), Hans Hartung (1904-1989) and Andy Warhol (1928-1987) in a moment of suspension and reflection on artistic practice.
In doing so, Amendola lays bare the soul of his models and searches for the liaison that unites and confuses the artist with his creation by playing with irony, symbolism, and visual analogies in order to return us to their most iconic essence.

 

In keeping with the guiding theme of this edition of MIA Photo Fair BNP Paribas, Dialogues, Aurelio Amendola’s work enters into a dialogue with the artists: his photographic gaze does not merely capture a moment, but becomes part of a conversation between the author and the subject, between the camera and the art itself. Amendola, with his ability to enter the artists’ creative intimacy, does not impose himself as a mere witness, but becomes a silent interlocutor, a mediator between their inner world and the public.

 

___________________

 

BUILDING TERZO PIANO

from March 19th to March 22nd, 2025
via Monte di Pietà 23, 20121 Milano

 

In conjunction with the present edition of the fair, from March 19th to 22nd, 2025, the Aurelio Amendola exhibition will extend into the spaces of BUILDING TERZO PIANO. The event stands as an ideal continuation of the selection of photographs by the Master that BUILDING offers at the fair. In the exhibition at BUILDING TERZO PIANO, the artist focuses on three great masters of the past: Michelangelo Buonarroti (1475-1564), Antonio Canova (1757-1822), and Gian Lorenzo Bernini (1598-1680).In this case, his photographic lens does not turn to the artist’s portrait but confronts the works directly, sinking into the bodies of these marble deities, returning them alive and present before us.

 

Each shot becomes a silent interlocution between the photographer and the work, between the human eye and the marble. Amendola interrogates the material, tries to capture its breath, its internal vibration. In doing so, this dialogue between ancient and contemporary is embodied in acts of interpretation that break the static nature of sculpture, animating it with a new spirit.