Guido Guidi: It’s a selection of the photographs that I took in my day-to-day life for many years: at home or with my closest relatives in Cesena, on my weekly drives to Preganziol, where I’d started working, with the fellow students I shared a room with in Treviso, and with work colleagues. There are also several self-portraits and some pictures taken during a trip to Spain with my wife Marta.
When a photograph is bound to the world indexically—a condition once understood to be necessary, even natural, to the medium—it refers to the world intrinsically; in a sense it is nothing but details and so can only produce “effects of the real.” With his imperfect models Thomas Demand stretches this assumed connection between photography and reality, but he does not cut it absolutely.
Gail Rebhan grew up in a household with one parent a rising trade union organizer and the other a contented housewife. That relationship seemed quite complementary for its time. Yet the daughter, coming of age in a period of second-wave feminism, intended for her art to question the prevailing gender norms in the domestic patterns of her own generation.