The photography of Nino Migliori (Bologna, 1926) is in perpetual motion. A flow of ideas, projects, experimentations, but also precise ethical and political stances accompanied by an ever-evolving aesthetic ideal.

The artist has always acted with a single, inalienable goal: to move the boundaries of photography ever further, constantly rewriting the grammar of images, opening and legitimizing strands of inquiry previously unknown to him. This anthology traces the “endless research” conducted by Migliori from 1948 to the present: from the shots with a neorealist flavor, which tell the story of Italy in the 1950s, and the series of Walls and Torn Posters, where he shows affinities with European informal painting, to the conceptual experiments with which he investigates neglected or unanticipated aspects of photographic language (the reaction of materials, the conscious role of chance, that of time, the physical and gestural presence of the artist), and to works that highlight a particular interest in visual communication as a whole.

In Nino Migliori’s career, photography takes on values and content related to art, experimentation and play: today he is considered a true architect of vision because each of his works is the result of a precise project on the power of the image, a theme that has characterized his entire production.

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