Alessandra Spranzi

Milan, Italy, 1962

Occasione unica

 

Photographs of houses for sale all over Italy, re-photographed with 35 mm film, taken from magazines found at real estate agencies. The photographic print texture becomes the material of the houses. This project started with a commission to rein- terpret the Viaggio in Italia of Luigi Ghirri of 1984, and it is a voyage taken without ever leaving the house, inside my room, inside the images.

An empty house, a house for sale, is like a well over which we feel the urge to lean, emitting a cold, humid, unhealthy air. It cuts out a disturb- ing place, a no man’s land, inhabited only by the spirit of the house. The voice reverberates, lost amidst echoes and darkness. The photographs are nearly always subdued, shabby. There is a form of modesty in the image, so rare, almost suspicious for an item that is up for sale. They seem like pictures taken on the sly. Perhaps it is hard to accept the idea that a house is not born and does not die with the person or family that built it and lived in it. The house that is supposed to be your opportunity is always a unique opportunity, unrepeatable, because it is talking only to you, about your past, your present, your future dreams.

 

Alessandra Spranzi, 1999

 

Vendesi

 

This series of analog photographs is a work in progress that be- gan in 2007 and now contains over 500 images. The source is a magazine for classified ads available on newsstands, where the images of the items offered are all in the format 45x30 mm.

The objects around us pass from person to person sometimes. They are silent, anodyne, mysterious. When they are photographed to be put up for sale, they try to catch our attention. We are amazed that we do not recognize them, or have the impression of seeing them as if for the first time. They have the air of ghosts that inhabit our memory and our homes: where have I seen that table before? And that lamp? When did I sleep in that bed? It is as if the objects, as they take their leave of us, had found their own form, beyond the function they fulfilled, and finally manifest themselves to us for what they are, as metaphysical presences. The way these objects have been photographed indicates a viewpoint that is not ours, that pushes us into the gaze of others. Transformed into images, the objects on sale become even more silent, anodyne, mysterious.

 

Alessandra Spranzi, 2008

 

Nello stesso momento

 

Obsolete things and images, left to their own devices, which I shift out of their context of silent invisibility and uselessness. In a certain sense I am caring for them. The practice of montage opens up unexpected associative, existential and aesthetic possibilities.

For years I have been thinking about the often slumbering or exhausted potential that resides in images, going back to observe and utilize anachronistic or humble materials in project that are different, each time, that bring to light or reveal the hidden, irrational side of things and images. To gather, approach, put together, to make meet, is a way of reorganizing or surprising vision and thought, of calling back into play the enigmatic nature of the photographic image that continuously questions us.

 

Alessandra Spranzi, 2012

Gallery exhibitions

Available Works

+
Alessandra Spranzi, Tornando a casa #7, 1997, color print on aluminium, cm.24,5x36,5, ed. 5 + 2 A.p.
+
Alessandra Spranzi, Tornando a casa #15 , 1997, color print on aluminium, cm.24,5x36,5, ed. 5 + 2 A.p.
+
Alessandra Spranzi, Tornando a casa #24, 1997, color print on aluminium, cm.24,5x36,5, ed. 5 + 2 A.p.
+
Alessandra Spranzi, La donna barbuta #6, 2000, b-w photograph, cm.25x38, ed. 5 + 2 A.p.
+
Alessandra Spranzi, La donna barbuta #17, 2000, b-w photograph, cm.31x46, ed. 5 + 2 A.p.
+
Alessandra Spranzi, Cose che accadono #12, 2002-2005, c-print on forex, cm.40,5x61, ed. 5 + 2 A.p.
+
Alessandra Spranzi, Cose che accadono#42, 2002-2005, c-print on aluminium, cm 75x115, ed. of 5+2 A.P.
+
Alessandra Spranzi, Vendesi #435, from 2007, colour photograph on aluminium, cm 30x45, ed. 3 + 2 A.p.
+
Alessandra Spranzi, Vendesi #237, from 2007, colour photograph on aluminium, cm 30x45, ed. 3 + 2 A.p.
+
Alessandra Spranzi, Vendesi #427, from 2007, colour photograph on aluminium, cm 30x45, ed. of 3+2 A.P.
+
Alessandra Spranzi, Vendesi #434, from 2007, colour photograph on aluminium, cm 30x45, ed. of 3+2 A.P.
+
Alessandra Spranzi, Nello stesso momento #5, 2012, inkjet print on Hahnemühl paper, cm.35x42,5, ed. 5 + 2 A.p.
+
Alessandra Spranzi, Nello stesso momento #20, 2012, inkjet print on Hahnemühl paper, cm.35x42,5, ed. 5 + 2 A.p.
+
Alessandra Spranzi, Nello stesso momento #20, 2012, inkjet print on Hahnemühl paper, cm.35x42,5, ed. 5 + 2 A.p.
+
Alessandra Spranzi, Obsoleto #41, 2013-2014, polaroid and page of book or magazine, cm.33x28
+
Alessandra Spranzi, Obsoleto #52, 2013-2014, polaroid and page of book or magazine, cm.33x28
+
Alessandra Spranzi, Obsoleto #9, 2013-2014, polaroid and page of book or magazine, cm.33x28
+
Alessandra Spranzi, Sul tavolo#2, from 2007, colour photograph on aluminium, cm.30x41, ed. of 5+2 A.P.
+
Alessandra Spranzi, Sul tavolo#5, from 2007, colour photograph on aluminium, cm.30x41, ed. of 5+2 A.P.
+
Alessandra Spranzi, Sortilegio, 2014, set of 5 photogravures, cm.40x50 each, ed. 5 + 2 A.p.
+
Alessandra Spranzi, Sortilegio, 2014, set of 5 photogravures, cm.40x50 each, detail
+
Alessandra Spranzi, Pagine dipinte #3, La divisione tra il soggiorno e lo studio, 2016, acrylic on paper, cm.29,5x21
Questo sito o gli strumenti terzi da questo utilizzati si avvalgono di cookie necessari al funzionamento ed utili alle finalità illustrate nella cookie policy. Chiudendo questo banner, scorrendo questa pagina, cliccando su un link o proseguendo la navigazione in altra maniera, acconsenti all’uso dei cookie. Ok, chiudi