Everything, At Once: Places & Spaces Lensed by Oberto Gili
By Oberto Gili
Photography by Oberto Gili. Essays by Christoph Radl, Marella Caracciolo Chia, David Netto, Amanda Brooks, Amy Astley, Francois Halard, Mary Randolph Carter, Tania Compton, Wendy Goodman, Laura Sartori Rimini, Roberto Peregalli, Patrick Kinmonth, Miguel Flores-Vianna, and Paolo Pejrone.
Briefly Everything, At Once is a photographic book by Oberto Gili that brings together more than five decades of his work in a volume that resists conventional categorization. Neither a chronological retrospective nor a thematic anthology, it unfolds as a visual meditation on perception, memory, and presence. Freed from dates, captions, and explanatory frameworks, the images connect through affinities of light, form, color, and emotional resonance, much like memory itself.
Spanning from the early 1970s to the present, Gili’s photographs move fluidly between interiors, gardens, people, and animals, existing outside linear time. His work privileges atmosphere over description and sensation over explanation; rather than documenting, it responds—driven by curiosity, instinct, and a heightened attention to the fleeting details that animate a space.
Everything, At Once is less a retrospective than a state of mind: an articulation of how Gili sees and moves through the world. It invites the viewer to drift, to linger, and to embrace beauty without the need for context or conclusion.
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By Oberto Gili
Photography by Oberto Gili. Essays by Christoph Radl, Marella Caracciolo Chia, David Netto, Amanda Brooks, Amy Astley, Francois Halard, Mary Randolph Carter, Tania Compton, Wendy Goodman, Laura Sartori Rimini, Roberto Peregalli, Patrick Kinmonth, Miguel Flores-Vianna, and Paolo Pejrone.
Briefly Everything, At Once is a photographic book by Oberto Gili that brings together more than five decades of his work in a volume that resists conventional categorization. Neither a chronological retrospective nor a thematic anthology, it unfolds as a visual meditation on perception, memory, and presence. Freed from dates, captions, and explanatory frameworks, the images connect through affinities of light, form, color, and emotional resonance, much like memory itself.
Spanning from the early 1970s to the present, Gili’s photographs move fluidly between interiors, gardens, people, and animals, existing outside linear time. His work privileges atmosphere over description and sensation over explanation; rather than documenting, it responds—driven by curiosity, instinct, and a heightened attention to the fleeting details that animate a space.
Everything, At Once is less a retrospective than a state of mind: an articulation of how Gili sees and moves through the world. It invites the viewer to drift, to linger, and to embrace beauty without the need for context or conclusion.
