Working in time and against it, in favour of “another” time, open to the possible, to the potential. That’s the point of departure for Franco Vimercati, the timid and obstinate artist who turns photography into a radical gesture of measuring time, making him one of the most rigorous and original conceptual artists in Italy and beyond. For the 25th anniversary of its opening, the Galleria Raffaella Cortese pays homage, with a vast retrospective, to the Milanese artist who has remained faithful, without straying, to the austerity and inflexible asceticism of the ‘70s. The “minute” to which the title of the exhibition refers alludes to the minimal character of his work (black and white, a focus on relatively few shots) but also the opposite, particularly hard-felt, the chronological limit of time and its virtually immeasurable nature. The emblematic work of 1974, Un Minuto di Fotografia, a sequence of thirteen photos that reproduce the repetition of unvaried quadrants of a huge alarm clock reading 2:46 is the point of departure for the exhibition. Among the masterpieces of the Sixties are the 36 shots of Senza Titolo (Bottles of Mineral Water), the minimal patterns of Senza Titolo (Tiles) from 1975 and Senza Titolo (Parquet), 1977 - works in which the overbearing presence of the ego is left aside. Among the lesser-known works, the series of eight photos Senza Titolo (Milk) from 1978 in which a milk carton, through almost imperceptible movement, seemingly crashes against a stationary background.