The book’s space interviews: There’s nothing wrong with that

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15 dic The book’s space interviews: There’s nothing wrong with that

Book: There’s nothing wrong with that
Photographs: Reka Szent-Ivanyi
Book design: Virag Bogyo
Editor: Self-Published
Date of publishing: 2014
N° of copies: 20
Dimensions: 19×25 cm
Binding: Handmade binding, artifitial boar fur, grey colour
Paper: Matte coated paper

THE BOOK AS A PROJECT


Which are the 5 indispensable pictures for this book?

Photographer: Sunglasses, Bathtub, Behind the Curtain, Portrait With Red Earing, Stockings.

What is the framed structure of this book?

Book Designer: The frame is different on each page reflecting on the otherness of Torgyan.

How did you choose your book designer?

P: I know Virag form the University of Art and Design, Budapest. She has great experience in designing photo books.

What was your approach to get into the photographic project?

BD: Thorougly know the story and learn the whole photographic material. We spent lots of time on selecting the images and to build up the narrative of the book.

How did you develop the work on the book?

P / BD: First we made a mock-up of the book. We decided the order of the photographs, after the pagination was designed. When the inside of the book was ready, we selected the material for the cover. Finaly, the bookbinder finished the book.

THE BOOK AS A STORY


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

BD: Slow and gradual introduction of the viewer to Torgyan’s not ordinary world in order to build suspense and preserve doubt.

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

P: The photo project was introduced as a solo exhibition in Budapest. Shortly after, I had the idea to make a photo book from the project. It was my intention to keep the same narrative as the exhibition throughout the whole book. Just like the exhibition, the photo book contains plenty of photographs in different sizes.

THE BOOK AS AN OBJECT


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

BD: It was important that the materials are related to the place where the photographs were taken is some way. For exmple, the colour of the inside cover is very determinative in the story, for it closely resembles the texture and the colour of the wallpaper inside the apartment. Since we issued 20 pieces we chose digital printing.

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

P: The cover material is artificial fur. The flat was full of hair and fur.



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