ES _ PROYECTO DE DISEÑO EDITORIAL SOBRE UN ARTISTA PARA UNA EXPOSICIÓN EN EL MNAC DE BARCELONA
“Me interesan la arquitectura efímera, el mundo de provincias, los objetos que todo el mundo define como kitsch pero que para mí nunca han sido tal cosa, sino objetos cargados de deseos, sueños y recuerdos colectivos […] ventanas, espejos, estrellas, palmeras, atlas, esferas armilares, libros, museos y personas vistas a través de las imágenes”.
Así en un extracto de una entrevista se describe Ghirri, fotografo italiano centrado en la década de los 70s un período crítico de expansión de los suburbios y terciarización de la economía, de emergencia del arte conceptual, de generalización del pop y sus estrategias apropiacionistas. En este contexto, Ghirri, utilizando herramientas y procedimientos de la fotografía amateur (una pequeña cámara Canon y película en color) empieza a retratar los espacios periféricos de Módena y genera un corpus de obras sin parangón en la fotografía artística dominante en aquel periodo.
EN _ EDITORIAL DESIGN PROJECT ABOUT AN ARTIST FOR AN EXHIBITION AT THE MNAC IN BARCELONA
"I am interested in ephemeral architecture, the world of provinces, the objects that everyone defines as kitsch but that for me have never been such a thing, but objects loaded with desires, dreams and collective memories [...] windows, mirrors, stars, palm trees, atlas, armillary spheres, books, museums and people seen through images".
In an extract from an interview Ghirri described himself, Italian photographer centered in the decade of the 70s, critical period of expansion of the suburbs and tertiarization of the economy, of emergence of conceptual art, of the generalization of pop and its appropriation strategies. In this context, Ghirri, using tools and procedures of amateur photography (a small Canon camera and color film) begins to portray the peripheral spaces of Modena and generates a corpus of works unparalleled in the dominant artistic photography of that period.
"I am interested in ephemeral architecture, the world of provinces, the objects that everyone defines as kitsch but that for me have never been such a thing, but objects loaded with desires, dreams and collective memories [...] windows, mirrors, stars, palm trees, atlas, armillary spheres, books, museums and people seen through images".
In an extract from an interview Ghirri described himself, Italian photographer centered in the decade of the 70s, critical period of expansion of the suburbs and tertiarization of the economy, of emergence of conceptual art, of the generalization of pop and its appropriation strategies. In this context, Ghirri, using tools and procedures of amateur photography (a small Canon camera and color film) begins to portray the peripheral spaces of Modena and generates a corpus of works unparalleled in the dominant artistic photography of that period.
