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Massimo Rivenci develops a technique that finds its final revelation in the manual decoloration of photographs.
The work on canvas becomes the contamination of two languages: photographic and pictorial.
Perception finds the interpretative suggestion in the environment, while the decoloration of the subjects becomes itself a metaphor of the constant human intervention on the natural environment.

by Giorgio Mondadori – “CAM” Catalogo dell’Arte Moderna n. 52

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ar[GEA]de #29 - 70x110x4,5 cm
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ar[GEA]de #28 - 64x96x3 cm
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ar[GEA]de #27 - 71x101x3 cm
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ar[GEA]de #25 - 101x71x3cm
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ar[GEA]de #24 - 71x101x3cm
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ar[GEA]de #23 - 50x97x4,3 cm
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ar[GEA]de #22 - 71x101x3cm
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ar[GEA]de #21 - 80x180x4,3cm (trittico/triptych)
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ar[GEA]de #20 - 100x100x4,3cm
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ar[GEA]de #19 - 63x40x2cm
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ar[GEA]de #18 - 60x90cm
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ar[GEA]de #17 - 60x33x2cm
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ar[GEA]de #16 - 101x71x3cm
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ar[GEA]de #14 - 90x60cm
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ar[GEA]de #13 - 60x40x2cm
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ar[GEA]de #12 - 48x30x2cm
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ar[GEA]de #11 - 50x50x2cm
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ar[GEA]de #10 - 50x30x2cm
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ar[GEA]de #9 - 56x36x2cm
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ar[GEA]de #8 - 36x26x2cm
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ar[GEA]de #7 - 90x60cm
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ar[GEA]de #6 - 90x60cm
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ar[GEA]de #5 - 90x60cm
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ar[GEA]de #4 - 90x60cm
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ar[GEA]de #3 - 45X30cm
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ar[GEA]de #2 - 60x90cm
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ar[GEA]de #1 - 60x90cm
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ar[GEA]de #15 - 100x70x3cm

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