Luigi Ghirri, Kodachrome. Testo di Piero Berengo Gardin. Modena, Edizioni Punto e virgola, 1978. In-4 (cm 26 x 20,8), brossura editoriale, pagine numerate 103. Fotografie e colori. Edizione originale. In ottimo stato lievissime abrasioni in copertina. Disponibili via email ulteriori fotografie.
-Martin Parr and Gerry Badger, The Photobook: A History volume I. New York, Phaidon, 2004 (riprodotto a colori a pagina 231): “Luigi Ghirri was one of the pioneers of creative colour in postwar European photography, and Kodachrome is as important in that context as William Eggleston’s Guide was in American photography (see page 265). The pervasive influence of Eggleston is evident, but Ghirri seems less of a realist than the American, and more interested in exploiting the artificiality of colour and exploring its paradox – that is both real artificial at the same time. The book would seem to be about the tin line between reality and artificialy. Ghirri is drawn to objects that make spatially and materially ambiguous pictures. He frequently photographs posters which, being composed of photographic images, depict a world of half-reality. He piles one rapresentation on another, artifice upon artifice, exemplifield by a picture taken in Modena where he photographs a path through bright green grass against the blue sky depicted in a poster. Although probably not consciously, Ghirri’s theme in Kodachrome relates distantly to that of Walker Evans’s American Photographs: it declares itself to be as much about the act of photography as documenting the world – the way our view of the world is shaped by photographs. He continually reminds us that he is not recording but constructing a landscape. And he often includes signs of that construction, shooting objects through framed shapes, or using window reflections to make mirrored, or multiple images. A modest paperback containing modest photographs that are more complicated than they seem at first glance, Kodachrome constitutes an important step colour photography”.
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