La mostra come montaggio. Ideologie espositive della fotografia (1920-1929)

Daniel Borselli

doi:10.6092/issn.2240-7251/16219

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Daniel Borselli Università di Bologna

Daniel Borselli is a Ph.D. Candidate in Visual, Performing and Media Arts at the University of Bologna, where he carries out research on the artistic practices of photographic display in contemporary urban space. Among his recent publications: Darkness Visible: The Art of Occupying Public Space as a Space of Appearance (Edizioni Ca’ Foscari, 2022) and, with Giorgia Ravaioli, Traces from the future. Readability and virtuality in The Anthropocene Project («Piano B. Arti E Culture Visive», 2021). He also co-edited, with Claudio Marra, the collective volume Paradigmi del fotografico (Pendragon, 2022). He is a member of the research group “Spazi ed attori del collezionismo e della connoisseurship” of the University of Bologna and, in October 2022, he was awarded the Premio Scripta per la giovane critica d'arte [Scripta Award for young art critics].

DOI:

https://doi.org/10.6092/issn.2240-7251/16219

Keywords:

Photography, Exhibitions, Montage, Display Ideologies

Abstract

Since the very origins of the medium, the display strategies, the exhibiting venues, and the selection of pictures underpinning photographic exhibitions have mirrored and at the same time redefined precise ideologies about photography. Against this background, this paper discusses two exhibitions presented in Germany between 1920 and 1929 – namely, the Erste Internationale Dada-Messe and Film und Foto –, so as to highlight opposite approaches to the identity of photography as related to the system of contemporary art.

The Exhibition as a Montage: Ideologies of Photography on Display

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