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View of “Paolo Gioli,” 2016. From left: Grande sviluppo rosso (Big Red Progression), 1966; Grande proiezione orizzontale (Big Horizontal Projection), 1969. Photo: Andrea Rossetti.

Paolo Gioli

Peep-Hole

View of “Paolo Gioli,” 2016. From left: Grande sviluppo rosso (Big Red Progression), 1966; Grande proiezione orizzontale (Big Horizontal Projection), 1969. Photo: Andrea Rossetti.

Paolo Gioli’s extraordinary survey at Peep-Hole demonstrated that the artist has progressed far beyond photography during the span of his four-decade career, consistently producing work that expands and extends the limits of the medium by incorporating drawing, painting, and filmmaking. The exhibition, distributed over eight rooms, included works dating from 1962 to 2010, and reconstructed the artist’s major themes and recurring concerns. The first room presented work mining classical art-historical tropes, from still life to landscape, often developed in an idiosyncratic personal manner and employing various languages, techniques, and materials. One constant in Gioli’s oeuvre is the trace of the human body. A series of charcoal-on-paper drawings, “1° Gruppo delle Creature” (1st Group of Creatures), 1962–63, was notable for its power and expressive quality, and in paintings such

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