David LaChapelle on display in Naples

An exhibition, which invites visitors to retrace the salient moments of LaChapelle’s prolific career, through forty pieces taken from the various significant periods of the artist’s career – from 1980 to today – and a selection of unpublished works from the photographer’s archive, combined with iconic masterpieces and various previews.

The exhibition David LaChapelle to the Maschio Angioino in Naples from 8 December to 6 March, curated by Vittoria Mainoldi and Mario Martin Pareja, explores the acute representation that the artist makes of humanity in the particular time in which we live. An intimate investigation into the artist’s work, which offers stimulating insights and presents works that contribute to cementing the role of LaChapelle among the most influential artists in the world.

DLC, After the Deluge Statue, 2007, Los Angeles. © David LaChapelle

Not to be missed are the seminal works Deluge (2007), in which LaChapelle re-imagines a biblical flood, setting it at Las Vegas, translating and making contemporary Michelangelo’s work of the Sistine Chapel; e Rape of Africa (2009) which sees the model Naomi Campbell in the role of Venus in a Botticellian-inspired scene set in African gold mines. Works from the vivid and engaging series will also be presented on display Land SCAPE (2013) e Gas (2013), still life projects in which LaChapelle assembles found objects to create oil refineries and gas stations, before presenting them as relics in a land claimed by nature.

David-LaChapelle---Behold,-2017,-Hawaii

David LaChapelle – Behold, 2017, Hawaii. © David LaChapelle

Finally, exclusively for the Palatine Chapel, some of the hand-painted photographic negatives made in the 1980s by LaChapelle, as the teenage artist explored the ideas of metaphysics and loss, against the backdrop of the devastating epidemic of AIDS. These negatives will be part of a site specific installation never made before and will enter into dialogue with LaChapelle’s most recent works – some presented for the first time on this occasion – in which the photographer is captured by an awe for the sublime and by the search for spirituality. As can be seen in Behold (2017), a symbolic work of the exhibition.

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