
Verso Nord
In 2019, Guido Guidi and Gerry Johansson â two of the great masters of analog photography in the 20/21st centuryâ took part in the âVerso Nordâ photography campaign, which was organized as part of the P=S+N project in Castelfranco, Veneto and the surrounding area. While Guidi focussed his attention on the historic centre of this small town, concentrating on architectural material in order to capture in detail, the layers of history and time, Johansson moved around the area of urban spread, assessing through photography the cultural imagination of northeastern Italy, where architecture and nature, residential buildings and space become special witnesses of a casual landscape, one with uncertain, mysterious features. Guido Guidi, by shifting his point of view â obtained through the use of a large format (8Ă10â) camera â identifies a tool for verifying reality, raising new questions about photography and its inherent codes. Gerry Johansson eĂtracts the substance of the places he encounters through traditional black-and-white photography. He aims at recomposing the fragments of a public imagination composed of micro-landscapes, poised ambiguously between estrangement and objectivity.
Produktinformationen
Produktinformationen
Versand & RĂŒckgabe
Versand & RĂŒckgabe
Description
In 2019, Guido Guidi and Gerry Johansson â two of the great masters of analog photography in the 20/21st centuryâ took part in the âVerso Nordâ photography campaign, which was organized as part of the P=S+N project in Castelfranco, Veneto and the surrounding area. While Guidi focussed his attention on the historic centre of this small town, concentrating on architectural material in order to capture in detail, the layers of history and time, Johansson moved around the area of urban spread, assessing through photography the cultural imagination of northeastern Italy, where architecture and nature, residential buildings and space become special witnesses of a casual landscape, one with uncertain, mysterious features. Guido Guidi, by shifting his point of view â obtained through the use of a large format (8Ă10â) camera â identifies a tool for verifying reality, raising new questions about photography and its inherent codes. Gerry Johansson eĂtracts the substance of the places he encounters through traditional black-and-white photography. He aims at recomposing the fragments of a public imagination composed of micro-landscapes, poised ambiguously between estrangement and objectivity.











