The exhibition includes about 60 images.
Well-known international photographer Franco Fontana has some surprises in store for us.
Not previously unseen works dug up out from the reject pile rather than throwing them away. Digging such things up from the bottom of the drawer is a much-abused habit for some photographers in an attempt to renew a fame that has been fossilised for years around the same old images.
Instead, this exhibition includes some of Fontana’s best-known works, arranged to encourage reflection on ‘what we already know’, discovery of new interpretations and ways of escaping a superficial reading of some of his images which have unjustly been set apart.
It is an unusual anthology. The photographer’s creative career and the maturation of his representation are drawn by a line that follows the rarefaction of his signs.
Fontana is a true master of the ability to extrapolate from the confusion of our perception of objects those little details that take on different meanings when isolated from their usual context.
Often with a surrealism that is based on such subtle relationships it is hard to identify, his images gather imperceptible rejects of reality, not acclaimed destabilisations but insinuating interrogatives as to what we truly absorb in our visual memory.
The exhibition includes about 60 images.
Well-known international photographer Franco Fontana has some surprises in store for us.
Not previously unseen works dug up out from the reject pile rather than throwing them away. Digging such things up from the bottom of the drawer is a much-abused habit for some photographers in an attempt to renew a fame that has been fossilised for years around the same old images.
Instead, this exhibition includes some of Fontana’s best-known works, arranged to encourage reflection on ‘what we already know’, discovery of new interpretations and ways of escaping a superficial reading of some of his images which have unjustly been set apart.
It is an unusual anthology. The photographer’s creative career and the maturation of his representation are drawn by a line that follows the rarefaction of his signs.
Fontana is a true master of the ability to extrapolate from the confusion of our perception of objects those little details that take on different meanings when isolated from their usual context.
Often with a surrealism that is based on such subtle relationships it is hard to identify, his images gather imperceptible rejects of reality, not acclaimed destabilisations but insinuating interrogatives as to what we truly absorb in our visual memory.