April 2008
The recent exhibition of the "Photographic Circle" at the Benaki Museum, ending in late April, is likely to surprise the viewer, as it does not follow the traditional method of hanging framed photographs on walls. The exhibition through projection, especially on computer screens, challenges the notion that photography as a two-dimensional representation can do nothing but mimic the behavior of its perceived (erroneously) elder sibling, painting. Without necessarily excluding the traditional practice of hanging frames, it is worth considering the function and mode of photography's projection through its undoubtedly multidimensional and complex uniqueness. As much as we try to treat photography as an object and attempt to make this object more valuable by increasing its size, price, and limiting its copies, photography remains primarily an almost intangible image with infinite reproductive possibilities. It's perhaps interesting to note that in our language there is no word that defines this object other than the one defining the medium itself; the medium is somehow also the final "object". New technologies have multiplied the possibilities for producing and spreading photography, while also lending a peculiar sanctity to the television screen, imposing its presence in all levels and spaces of our personal and professional lives. Therefore, it is not unreasonable to use this screen in more formal and ceremonial spaces, such as photographic exhibition areas. Especially when considering that photography is a product of the technological revolution and continuously follows its steps and developments. The exhibition through projection has peculiarities that emphasize the complexity of the identity of this initially "poor" medium, photography. There are obvious advantages of exhibition projection, such as lower production and presentation costs, the potentially unlimited number of displayed images, the need for much less exhibition space, the absence of problems around storing the works, and many more. And these already make this exhibition method an interesting alternative to the always cherished and necessary wall hanging. However, two other peculiarities of exhibition through projection are particularly interesting. First is the atmosphere of the exhibition space. Technical needs dictate low lighting, which gives the space a suggestive quality and simultaneously provokes the viewer's discretion and respect, in ironic contrast to the usual treatment of a television screen. This suggestiveness is further emphasized by the strong and unique lighting sources that are the exhibited (projected?) images (photographs?). The lighting is no longer external but internal. Even more suggestive is the rhythm of the projection. In a traditional wall exhibition, the viewer may focus on a photograph for several seconds (a whole minute is already an unbearable time for photography, which cannot withstand such persistent viewing), but always ends up voluntarily turning their gaze from the specific photograph to another, thus relieving any potential emotion. However, during an exhibition projection, the photographs impose themselves and resist the viewer, through their own timing, intensifying and prolonging the emotion.
Plato Rivellis