Parallel Lines: Andrea Isola
© Andreas Gurski
F.B. The language of photography is still among the most contemporary ones, notwithstanding the diffusion of digital art. Which factors make photography such a relevant medium in our time?
A.I. I have recently discussed this with another photography professional. As soon as smartphones came out, it was common sense that everyone would easily become a photographer. Actually, history shows that the opposite has occurred: the more this fake competition increases, the more we realise who can really master the photographic language and build relevant projects. One thing is to take pictures, but being a photographer requires a quite deep awareness. There is a huge difference between imagining a photographic project and taking a single good photograph. Just some decades ago only few people could afford a camera: the truly passionate, the ones who believed in the power of such language and the extremely rich; now we can all afford to take pictures, thus the distinction between professional photographers and amateurs lies somewhere else.
F.B. Your experience as an Exhibit Designer has led you to design exhibitions related to many art forms. In the context of photography, a largely two-dimensional language, what exhibit design strategies can convey an additional sense of three-dimensionality and spatial presence?
A.I. Planning an exhibition starts with a photographic project, which is then discussed with curator and artist; these two figures introduce me to the project and from there, depending on the space in which the exhibition is planned, I figure out how to place the photographs in a way that adds value to their presence. Setting up an exhibition requires the awareness of creating an experience for the visitor, in a way that entering the space and leaving it, each observer has to be somehow enriched. How to convey three-dimensionality? It relies on the design. One can decide to hang works on the wall, as usual, but there are more options: why not print them on the floor, use mirrors to create reflections or print the photo on three-dimensional cubes to create shadows? Photography is such a versatile language because, having had photographs in our homes since childhood, we are used to seeing it hanging in diverse places and shapes; opposite, a painting exhibition can't be planned anywhere. Thus, I wouldn't be surprised to see a photography exhibition in the most unlikely places. Being able to print in a variety of formats and on multiple materials makes it extremely fun.
© Darren Almond
F.B. Just like the act of photographing, designing an exhibition is also a matter of imagination and a combination of different elements. In terms of adapting to spaces, I am impressed by the variety of starting points: either the printing support, the format or the choice of a space itself. We are witnessing an increasing presence of photographic exhibitions in public spaces. This allows for a wider fruition of the photographic language by people outside the photographic industry. As outsiders, it is often natural to think that any public space could be suitable for an exhibition, given that an exhibition merely consists of hanged photographs. However, we know that reality is quite different. Which are the limitations to keep in mind when designing a photographic exhibition in public spaces?
A.I. The size of prints becomes very important in public spaces. In order for them to be seen by more people even from a distance, photographs must be quite big. The major limitations lie in the materials one can print on. To ensure durability for the work, it is fundamental to choose materials which could resist to any kind of climate. Then, the lighting depends on the emotional feel of photographic project, in addition to the sort fo space. If the project features a very dark theme, the importance of lighting increases. The photos shown in public will be seen at all hours of any day, with all kinds of weather and hours. Giving value to a photograph involves a balance all of these considerations.
F.B. Given the recent reopening of photography fairs, in particular with PhotoBasel and MIA Photo Fair, it has been necessary to imagine new set-ups that would allow the enjoyment of photographs with the current restrictions. In which ways does the design of a Booth in a fair differ from that of an exhibition in a gallery?
A.I. While walking in a gallery generally involves awareness of the show available there, attending an art fair with multiple stands might be a way to discover new galleries and photographers. If visitors are mostly not familiar with a work, it becomes more important to attract their attention rather than to show coherence in the way a work is shown. The first step is understanding where people are coming from and which paths they are walking; only then one can attract the public. The quality of the project loses relevance with respect to the display of the booth. Even in terms of industry professionals, who spend a lot of time inside fairs, the attractive potential of tricks such as the use of color applies. Usually the corridor floors are grey and the booth walls white, thus even just the use of a warm color in the booth is sufficient to make it stand out. Other aspects to consider are the size of the printed photographs and the variety of materials to print on; one needs to select the most suitable for each exhibition and situation. Opposite, in a gallery one can be more conceptual in the setup, given the awareness of most viewers in coming to see the show. Most gallery attendees already know what the title of the show is and they are willingly visiting such exhibition .
© Stefano de Luigi
F.B. Continuing on this line, how does the design of a solo exhibition in a gallery differ from an exhibition imagined in other spaces, such as a bookstore, a subway station, a hotel or a gym?
A.I. The viewers change. For instance, in a subway station most travellers potentially don't care about photography in general. Moreover, they often find themselves in a hurry. The main variable to consider is the audience and the purpose of the project shown. An exhibition can be set up in any space, which makes it possible to have fun with the media to print on. Opposite, in a gallery – which is a commercial space – the gallery owner has to make sure a project is credible for a potential audience of collectors who might buy the work. Obviously outside of the gallery scene an exhibition designer can have more fun: being careful with the setup, one can transmit more about the project and increase the involvement of viewers by having them identify with the author. A project about the nature of water won’t ever work as well on white walls in black frames as it might in a fountain, with the photographs reflected on the surface of the water.
F.B. On the one hand it is a matter of credibility for collectors, on the other it becomes a matter of conveying a story.
A.I. Definitely. And one must start from ideas rather than from a budget, in order to create an experience. The bigger the budget, the more expectations there are, both on the side of those one works with and on the side of the audience. Horrible things have been done with huge budgets. Intuition, rather, lies in having the right ideas and then working with the budget one can dispose of.
