Prefabricated garage, video camera, projector, virgin photographic paper in continuous impression, contact-printed photographs.
Photography is rediscovered matter.
For me, photography is a precipitate that allows us to start again from situations of empathy and rediscover a constructive will where we have freed ourselves from (historical) matter and can seek further essentiality.
In this Garage, the public produces self-portraits, negatives, prints, by means of direct video projection on photosensitive paper in continuous impression. At least 15 to 20 minutes of exposure are needed to obtain these negatives. In such a period an attempt at stasis is made, which is a physical action, an effort and an experience of time dilation. The resulting image is never perfectly sharp, as it is impossible to remain perfectly still for many minutes. I like this result because it well expresses the attempt, the search for the image.
We look at that person, who is us, looking at us. That person is not mirrored as a reflection in the mirror, but is our double of the photograph that slowly becomes substantiated. Underneath the projection, the imprint is formed just as we are looking at ourselves. In this work, seeing the image coincides with making the image.
Fabio Sandri was born in Valdagno, (VI), in 1964. His artistic research is characterised by a plastic conception of the photographic medium, investigated in its essence as an imprint on a photosensitive support in direct contact with the materiality of places or as a continuous imprint in temporal becoming. Human presence and temporal physicality precipitated in the photographic material, or in works in which film imprints are added to those of the environmental situation, in open processes of construction.
He has exhibited his research in several solo and group exhibitions curated by leading theorists such as Italo Zannier, Daniela Palazzoli, Elio Grazioli, Tim Otto Roth, Eva Fabbris, Simone Menegoi, Luca Panaro, Roberto Maggiori and others. He has exhibited in several international exhibitions in Italy and Europe, including: Galerja Scuc (Ljubljana, SLO), Kettle’s Yard (Cambridge, UK); Fotografia Europea (Reggio Emilia); Artforum (Berlin, D); Kurpfalzischmuseum (Heildelberg, D); Museo d’ Arte Moderna e Contemporanea di S.Marino (RSM); Extra City Kunsthal in Antwerp (B); SIFEST (Savignano, FC), Museo Salinas (Palermo), MAMBo (Bologna).
His work can be found in several significant publications on Italian and international photography: Mario Cresci, Future images, Motta Editore, Milan, 2009. Sergio Giusti, Fabio Sandri, in AA.VV: Fotografia Europea – Eternità, Electa ed., Reggio Emilia, 2009. Elio Grazioli, Uno sguardo italiano, Cartaditalia, 2011. Tim Otto Roth, Korper. Projection. Bild. Eine Kulturgeschichte der shattenbilder. Wilhem Fink, 2015. Simone Menegoi, The camera blind spot II and III – Extra City Kunsthal, Antwerp (B), 2015 ; Banca di Bologna, 2016. Marc Lenot, Jouer contre les appareils. Photosyntheses, Arles, 2017. Luca Panaro and Marcello Sparaventi, Centrale. Research photography in Italy. Editrice Quinlan, 2018.