Fabio

Sandri

Fabio Sandri, Filtro , 2015
Loop video projection on photosensitive paper

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Bio

Fabio Sandri born in Valdagno, (VI), in 1964. He studied at the Academy of Fine Arts in Venice in the laboratory of Emilio Vedova.

His artistic research is characterized by a plastic conception of the photographic medium, investigated in its essence of imprint on a photosensitive support in direct contact with the materiality of the places or of a continuous imprint in temporal becoming. Human presence and temporal physicality precipitated in photographic material, or in works in which film footprints are added to those of the environmental situation, in open construction processes.

He has exhibited his research in various solo and group exhibitions curated by important theorists such as Italo Zannier, Daniela Palazzoli, Elio Grazioli, Tim Otto Roth, Simone Menegoi, Luca Panaro, Roberto Maggiore and others. He has exhibited in various international exhibitions and reviews, in Italy and in Europe: Galerja Scuc (Ljubljana, SLO), Kettle’s Yard (Cambridge, UK); Neon Gallery, (Bologna), European Photography (Reggio Emilia); Artforum (Berlin, D); Kurpfalzischmuseum (Heildelberg, D); Museum of Modern and Contemporary Art of San Marino (RSM); Extra City Kunsthal of Antwerp (B); SIFEST (Savignano, FC), Salinas Museum (Palermo), Artericambi Gallery (Verona).

His work is featured in some significant publications on Italian and international photography:

Mario Cresci, Future images, Motta Editore, Milano, 2009.

Sergio Giusti, Fabio Sandri, in AA.VV: Fotografia Europea – Eternità, Electa ed., Reggio Emilia, 2009.

Elio Grazioli, Uno sguardo italiano, Cartaditalia, 2011.

Tim Otto Roth, Korper. Projection. Bild. Eine Kulturgeschichte der shattenbilder. Wilhem Fink, 2015.

Simone Menegoi, The camera blind spot II e III – Extra City Kunsthal, Anversa (B), 2015 ; Banca di Bologna, 2016.

Marc Lenot, Jouer contre les appareils.Photosyntheses, Arles, 2017.

Luca Panaro e Marcello Sparaventi, Centrale. La fotografia di ricerca in Italia. Editrice Quinlan, 2018.

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