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Lighthinking

Luisa Lambri, light photographer

The artist behind the solo exhibition at PAC in Milan offers an exploration of space

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Published: 14 Apr 2021
Luisa Lambri, light photographer

Luisa Lambri, Autoritratto. Installation view of the exhibition, PAC 2021. Photos Lorenzo Palmieri


The PAC in Milan hosts Autoritratto (Self-Portrait), the photographer Luisa Lambri’s first large-scale solo exhibition in Italy. The title of the exhibition pays homage to the series of interviews published in 1969 by Carla Lonzi with the same title and is a reflection on the meeting between the private sphere of the observer and the physiognomy of the observed. Luisa Lambri is a photographer of light whose art seeks to capture the experience of being in these spaces. Architecture is the main subject of Lambri’s photography and, in general, of her solo exhibition, which opened in Milan on 16th February 2021 in a space that is one of the leading examples in Italy of architecture specifically designed for contemporary art, in this case by Ignazio Gardella.

In PAC’s 1200 square metres, a viewing path has been constructed that allows visitors to view Lambri’s vision and encourages interaction between observer, artwork and space. The large parterre window that overlooks the park is a physical threshold (sadly closed to visitors at the moment) that triggers a conversation with the other thresholds captured by Lambri. One of these is the shot entitled Untitled (Schindler House): a view of the House’s garden through a window that is transfigured in Luisa Lambri’s photograph into a sharp cut between inside and outside, a blinding beam of light limited by two impenetrable black bands.
Luisa Lambri, light photographer

Luisa Lambri, Untitled (Schindler House, #01), 2007,Courtesy of the Galleria Raffaella Cortese,
Milan and Thomas Dane Gallery

The environment of the Schindler House, a house-studio in West Hollywood designed by the architect Rudolph Schindler in 1922, is dematerialised and represented in “another” dimension. Lambri’s vision isolates portions of space and transfigures them through the use of unexpected framing that focuses on the secondary or marginal details of the interiors represented.
 
The artist recognises herself in these spaces, she fills them with her own personal experience, and she overlays collective and personal emotions, memories and current experiences through an interplay of light and shadow.
Luisa Lambri, light photographer

Luisa Lambri, Untitled (The Met Breuer, #03), 2016, Courtesy of the Galleria Raffaella Cortese,
Milan and Thomas Dane Gallery

The facade of the Met Breuer in New York collapses into a darkness that is interrupted by a beam of light which bursts from a window that seems to be suspended in a void. The Casa del Fascio in Como, on the other hand, designed by Giuseppe Terragni, is stripped of its identity and becomes almost transparent in an interplay of mirrors and reflections.
 
Luisa Lambri, light photographer

Luisa Lambri, Untitled (The Met Breuer, #03), 2016, Courtesy of the Galleria Raffaella Cortese,
Milan and Thomas Dane Gallery

Inside her architectural forms, Luisa Lambri finds herself by constructing a female experience of these spaces that were designed and built by modernist architects. In this sense Lambri’s photographs are self-portraits. The artist recognises herself in these spaces, she fills them with her own personal experience, and she overlays collective and personal emotions, memories and current experiences through an interplay of light and shadow.