Passariano di Codroipo (Udine / Italy). I’m back from an interesting exhibition about Joan Miró, hosted at the prestigious Villa Manin (more or less one hour from Venice, one hour and half from Ljubljana, and 3 and half hours from Milan and Salzburg). In these situations, it’s very unlikely that I photograph some paintings, since I found this action totally useless. What can be the reason behind photographing a painting at an exhibition? If it is to save a memory of the visit, I can photograph something else, something of more personal and intriguing; if it is because in a following moment I want to analyse in detail the painting I’m photographing, I’m sure I can find much better and more detailed images on the web; if it is to show-off that “Hey, I w a s t h e r e ! ! !”, it’s obviously pretty stupid.
However – and here’s the reason of this post – walking at an exhibition I enjoy photographing the ambient around me and directing my lens towards some large rooms or trying to capture people’s behavior.
One of the main rooms at Joan Miró’s exhibition is the one photographed here: it reproduces – using original tools and instruments – part of the artist’s studio. Watched from the balcony (the exhibition is on two floors) I found the view of this room very interesting and worthy of being photographed: I liked the soft light, and I felt like I was really there, in his studio at Palma de Maiorca, watching his table immediately after he completed one of his paintings and left his instruments on the table.
It was just a feeling: but isn’t it great using photography to capture a feeling?