‘The photography exhibition ‘Meanings in the Visible’ is divided into three sections:

1) Great Retrospectives: Gianni Berengo Gardin, 120 photographs from 1952 to 1982. Man and his gestures throughout the world, selected from the work of young contemporary photographers, is the result of 30 years’ work of one of the greatest contemporary reporters, Gianni Berengo Gardin. His existential and aesthetic itinerary has developed thanks to a great and profound attention constantly turned towards man’s face as well as the features of the natural and architectural surroundings where history actually takes place. This attention has been the starting point for Berengo Gardin’s original narration by images which is the secret formula of his success, witnessed by the publication of more than 30 volumes and a series of exhibitions in Italy and elsewhere. Berengo Gardin has analysed man and his environment in their mutual relationship, sometimes with irony and detachment, often with sympathy and direct involvement, some other time with anger and indignation, but always discarding the poetry of the unrepeatable, fleeting moment immortalised by one perfect shot; instead, he has privileged a wider narrative dimension, articulated in a series of pictures which, if less intense, follow the mundane, repetitive structure of the life of ordinary people.
2) Meanings in the Visible: 100 photographs by Den Hollander, Elzeard, Grisanti, Hili, Le Querrec, Lichsteiner, Olivella, Willman, Wolf, Vogt. The visual languages used by today’s photographers are extremely complex, and in their diverse structures they reflect a variety of ideologies, patterns of intention, cultural and artistic traditions in relation to reality, to whose image the photographic work remains indissolubly bound. This exhibition compares the work of ten prestigious photographers from Austria, Spain, France, Holland, Switzerland, the US, and Italy, who have perfected idioms remarkably different from one another, in order to understand from the inside the logic of their mental construction, and to reveal the cultural presuppositions as well as the meaning of the subjective and objective world they refer to.
3) Place and Identity in Contemporary European Photography, Part 2: photographs from Great Britain, Holland, Switzerland, Italy. The great exhibition on the young Europeans, started at the ‘Meeting ‘82′, comes to a close with the sections dedicated to: Great Britain, with Berkshire, Davies, Chadwick, Graham, Griffin, Mahr, McMormick, Parr; Holland, with Michiels, Huiskes, De Roo, Sengers, Vroege; Switzerland, with Buetti, Gandolfi, Glanzmann, Flammer, Pugin, Strebel; Italy, with Di Vincenzo, Buratti, Fossati, Paderni, Sartorello, Tavano, Tinelli. This year too, the research area of the photographers selected is the living space, where man actually lives his destiny, and where the effects of the current social change can be seen and analysed. The exhibitions have been organised in co-operation with The Photographers’ Gallery, London, The British Council, Milan, Perspektief Galeri, Rotterdam, Fotografia Oltre, Chiasso.’