“The eradication of the space that surrounds specific fragment I have framed is as important for me as the image being shown; it is through this erasure that the image takes on meaning, becoming measurable. At the same time, the image continues in the visibility of the erasure, and urges us to see the rest of reality, which is not represented. This dual aspect of representing and erasing does not only tend to evoke the absence of limits, excluding any idea of completeness or finitude, but also indicates something to us that cannot be delimited, namely the real.” (Luigi Ghirri, Kodachrome, 1978, p. 12). [x]




