The book’s space interviews: L’Aquila e La Rana

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25 nov The book’s space interviews: L’Aquila e La Rana

Book: L’Aquila e La Rana
Photographs: Luca Massaro
Book design: Samuele Ranocchia, Alice Zani
Editor: LDS Editions
Date of publishing: November 2014
N° of copies: 300
Dimensions: 28,9×38 cm
Binding: Unbound newspaper
Paper: 52gr newsprint


Which are the 5 indispensable pictures for this book?

Photographer: Every picture is indispensable in the book or it wouldn’t be there: they interact with each other to complete the narrative. When the book is exhibited the linear fil rouge is less important than the direct impact, and when I had to choose five images for the shows I picked: the green frog, the wood path, the microscope, the spiral, the flickering frog.

What is the framed structure of this book?

BD: The book is structured in two opposed and complimentary chapters, images and texts paired through elliptical associations. The printed publication produced a rebus that was later developed through an online interactive corollary and the exhibitions. I’d like the book not to have a locked structure, but rather be able to shift and evolve in relation to the environment and situation, just like frogs, amphibians with a double life, tadpole and frog, land and water, book and exhibition, online and offline.

How did you choose your book designer?

P: We have complimentary ideas and he’s somehow my twin. We would like to thank Alice Zani for the technical support.

What was your approach to get into the photographic project?

BD: Researches before and after the residency, walking and asking.

How did you develop the work on the book?

P / BD: Research, in loco artist residency, research, edit, other photographs, edit, book design, print, presentation, virtual corollary and exhibition.


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

BD: Two chapters and two photographic narratives, image & text dialogue, downbeat and upbeat rhythm. Someone told me I’m a bit bipolar and always in a struggle to become something else, so I chose this dialectic narrative as it chose me, very naturally.

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

P: The photographic project is composed of this book, an audio and site-specific installation, and a virtual interactive corollary. The photobook is a rebus guide to get into a bigger obsession.


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

BD: To mimic the traditional newspaper offset publishing on newsreel.

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

P: Fundamental to complete the mock-up of the newspaper (the idea came from an article published on The Guardian) and create a short circuit of a traditional contemporary form with a mythological and tale-like content.

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