The book’s space interviews: Il dono e la minaccia

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20 nov The book’s space interviews: Il dono e la minaccia

Book: Il dono e la minaccia
Photographs: Federico Covre
Book design: Zaven (Enrica Cavarzan + Marco Zavagno)
Editor: Documentary Platform Editions
Date of publishing: September 2014
N° of copies: 500
Dimensions: 24×32 cm
Binding: Softcover
Paper: Favini Burano 250 gr, Fedrigoni Arcoprint 120 gr, GardaPat Kiara 150 gr

THE BOOK AS A PROJECT


Which are the 5 indispensable pictures for this book?

Photographer: The six images published here are indispensable for this book. They are images that contain a story within themselves and are representative of both the project and my photographic approach.

What is the framed structure of this book?

BD: The bearing structure consists of in which the photographs relate to one another and, at the same time, constitute chapters. Like in a film, the different visual fragments construct the whole to compose the narrative structure.

How did you choose your book designer?

P: I have known Zaven studio since my university days and this is the second editorial project we have developed together. We share the same attention to research, both in form and choice of materials, and we are always convinced that each work/project must be developed starting from the image, yet never forgetting the ‘object’ quality that each book much have.

What was your approach to get into the photographic project?

BD: We sat together at a table to speak of the book with the photo sequences printed and ready to be framed Wearing gloves, we went through the images one by one, while Federico explained the titles, his idea of sequence and what texts he wanted to insert. Basically, the approach was one of listening and analysis.

How did you develop the work on the book?

P / BD: The book was developed through a series of layouts, in order to understand the form and for typographical questions. Once the base sequence of the book was selected, we moved on to the choice of materials. Three different papers were chosen, both in terms of colour and in terms of tactile qualities, elements which dialogue with one other. Once the last layout was constructed, the typographic dialogue began in terms of economic feasibility and other questions that are not marginal, such as the pagination, which in the end was done by hand. While the technical questions were being resolved, we proceeded with the graphic design aspects and with the choice of the cover design. In the end, the title was printed with a black metal foil very close in tonality to the cobalt blue paper, aware that this does not facilitate the reading, but pushes the reader to move the book in order to read the title. This choice is a result of the entire photographic process that is based on the potential multiplicity inherent in things.

THE BOOK AS A STORY


Which narrative slant did you choose for this book and why?

BD: It was important for us to give a rhythm to the pages and images. We found a way to separate the sequences and insert a double page of text in the centre, all the while aiming to not fragment the project, but make it visible in its entirety.

What’s the difference between the book and the photographic project slant?

P: The photographic project is composed of a more extended series of images, but the reduction in the book does not change the essence.
In the first exhibition of the work (Linea di Confine) the images were clustered together in small groups and the same idea returns within the book (this aspect dis not always occur in the various layouts, but in the final phase it involuntarily turned out to be the choice which best expressed the work). Through grey pages, micro-sequences are created which may be read independently from the book on whole but, at the same time, give it its structure. If in the exhibition, only the title appeared, within the book, Umberto Curi’s text functions as a counterpoint to the entire research, providing a key to reading the images. I already knew the text when I was first producing the images (the text derives from Curi’s book Foreigner) and the construction of the project bore its influence from the beginning.

THE BOOK AS AN OBJECT


How did you choose the materials and the kind of printing?

BD: We used high quality paper for the prints in order to privilege a sense of touch and confer materiality to the book.

How the materials’ choices are connected to the photographic project?

P: The idea, already present in the title, was that of doubling, a reading which never goes in one direction, but which is always multiple. This is also the concept developed within Curi’s text referring to foreigners. This doubling is both a richness and a preoccupation.The title on the cover of the book is intended not to facilitate the reading and to be ‘doubled’ in two parts in order
to emphasise the concept. The colours were chosen to express and provide coherence to the project. Cobalt blue for difficulty of interpreting/reading and grey within for neutrality. The colour images are always single; at times they dialogue with white pages, at times with grey.



You can also find all the interview archive on 3/3 blog: www.treterzi.org