The artistic career of Aldo Tagliaferro found his first experimentations during the 60s with a special inclination for photojournalism and reportage. A change happened in 1970, year in which he discovered and breathed life into his essential conceptual photo-art. Aldo Tagliaferro honed a new working method to which he would substantially stay loyal through out his entire career: the basic structural layout was the traditional one for conceptual art: to work by projects. The artist identifies and chooses projects that he wanted to devote him self to, starting from the evolution of his human and professional interests, and from the dynamics that evolved from his ideas and life experiences.
The decade 1975 – 1985 coincides with the production of four main artistic projects that share the following intuition: evaluations of human beings strongly depend and differ according to various text and context.
Osart Gallery focuses its attention displaying works belonging to the following projects:
Aldo Tagliaferro, 'Analisi del feticismo da un'immagine trovata' (Analysis of Fetishism from an image I encountered), 1977;
Aldo Tagliaferro, 'Soggiorno Temporale – Soggiorno Eterno' (Temporal Stay – Eternal Stay), 1972;
Aldo Tagliaferro, 'Memoria-Identificazione in una variabilità temporale' (Memory – Identification in a temporal variability), 1972;
Aldo Tagliaferro, 'IDENTIFICAZIONE Oggettivizzata' (Objectified IDENTIFICATION), 1973;
Aldo Tagliaferro, 'Sovrapposizione alla realtà' (Superimposition on reality), 1973;
Aldo Tagliaferro, 'Evidenziazione attraverso la quotidianità del vivere' (Highlighting through every day life), 1977;
Aldo Tagliaferro, 'L'IO Ritratto' (The Portrayed Ego), 1978.
'Analisi del feticismo' was presented for the first time in 1976 at Galleria Il Gelso (Lodi). "This work is an analysis of the multiple recording possibilities of an image when it is isolated from its specific function". Aldo Tagliaferro uses as a base a photograph that shows many dolls hanging from the wall of a shop in Amsterdam in Waterlopleein. Then he segments the image and arranges the fragments in check-board fashion on two walls facing each other in the closed space of the gallery. The image decomposition and its allegorical function provoke a sense of anxiety in the viewer.
The project 'Soggiorno Temporale – Soggiorno eterno' led to the artista debut work, which introduces us to Tagliaferro new commitment, i.e to use art as a place for experimentation and discovery, and thus create works that stimulate us to enter that arena – usually mostly reserved for specialists – and to explore the various features of psychology and the unconscious as they relate to the construction of our personality.
In 'Memoria – Identificazione' Aldo Tagliaferro uses a combination of elements to create different possibilities of interaction between a basic photograph with the year 1882 stamped on it, its repetitions varied in a range of colours from white to black, and the chance for everyone who sees it to subjectively choose an “identifying photogram”. In speaking of Identificazione oggettivizzata, Tagliaferro said that he wanted to offer a negative meaning to the identification of this work, trying to show us the twins as depersonalized models. He picture them dressed in black against a super black background so as to dematerialize them as much as possible and eliminate their three-dimensional physical nature.
'Sovrapposizione alla realtà' is a very radical, minimalist project. After having photographed the gallery walls – which here for the artist constitute reality – he places the new photographs back in the same place where he took them. Then he again photographs the wall and presents it to us as a work: although it looks the same as before, the artist's interventions and time passing have forever changed our relationship with those images and their context.
Through 'Evidenziazione attraverso la quotidianità del vivere' (1977), Aldo Tagliaferro recorded a special “event” during a visit at the Stedelijk Museum in Amsterdam, highlighting the instinct-rationality dualism of the behaviour in one's own role. In 1979, the artist studied and defined the meaning of what he means when is talking about the “dualism of the ego”.
The result is the origin of the 'Portrayed Ego’. Tagliaferro depicts him self from the front, through the negative of his face, and from behind. Then he modifies and combines these three variants in every possible way in order to reveal the otherness of the relationship that each one of us can entertain with his or her ego.