I also avoid the simultaneous exposure of photos of different sizes because this again leads to a materiality while at the same time it creates confusion for the viewer about the reasons for the variety of sizes and for the possible difference of interpretation or even value between them. The distance between the photos should according to the above logic help the concentration on each photo but at the same time push towards the disengagement from it. In other words the gaze must be able to leave and very quickly and easily return to the same photo. After all most photographers agree that what matters is the photographic proposal each particular photographic look and not each individual photograph.
That is why even if we necessarily accept the reality of photography competitions which we consider in principle to be rejected as any artistic competition should be considered we support the awarding of photo background removing photographers and not photographs. or that will possibly form small groups that will all together make up the exhibition is of capital importance. Because the elements that connect them are what will determine the type of approach. If for example there happen to be several photographs with a similar and recognizable subject it may be better not to display them side by side but to prefer others whose kinship element is more photographic possibly expressive and less thematic.
If on the other hand a strong formalistic element can overwhelm the common thematic content it may be more correct to juxtapose the photographs. In short the fewer larger and sparser photos we show the more we give the message to the viewer that their physical presence is important and that what they show counts more than how they show it. But since photography unlike painting is powered by the what it captures it must always unify the how with the what. And because the apparent what of photography is stronger than that of painting we must help the viewer in the direction that matters most to us.
发表于 2022-10-22 17:29:56
