Material for thought: the return of the Foto / Industria Biennale in Bologna, exploring gastronomy


The program also includes a retrospective exhibition of American arthe is Jan Grover‘s The work, the first show of her work in Italy, was presented at the Bologna Museum of Modern Art (Mambo). Living between America and France, the photographer produced formal works with a logical rhythm, eventually moving from the structural forms of the landscape to the kitchen. It was inspired by the Italian painter Giorgio Morandi, whose works are shown in the same gallery. Groover’s still life becomes the exhibition’s main focus, with her unedited images linking photography with the much older painter’s tradition of studying light, shadow, and fruit.

Despite showing at the New York MoMA in 1987, Groover was somewhat forgotten by the photographic canon—a mistake Zanot wishes to correct. “Her work has always been very important to me, but in the last 20 years it seems to have disappeared,” he comments. Groover’s still life is later shown with a purpose-built log house, inspired by her American home and attic studio.

Elsewhere, Japanese photographer Takashi Homa presents a two-part exhibition, m + tracks, and explore both Japanese and semiotic deer hunting International fast food chains. Both works are on display in the 1925 Padiglione dell’Esprit Nouveau, Le Corbusier’s show house rebuilt in the city in 1977, near the heart of Homma. Homma’s previous project, looking through, the photographer watched a journey into 18 of the late architect’s buildings, a project that comes full circle m + tracks. in a NS, Homma documents the golden arches of the McDonald’s logo, tracing the instantly recognizable letter “M” across multiple continents. A background for business provides photographs of the typical Paris of Le Corbusier, a design that aims to create an ideal city for work, leisure and logic.

In the other wing of the building, arcade It documents the bloody hunting trails used by deer hunters in the Japanese winter, slowly approaching the injured animal. Homma ponders the violence of the camera, unique nature, and point of view, all while becoming the hunter, the hunted, and the observer.



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