Although it often represents reality, photography fulfils both creative and subjective needs. But, to what extent do these needs affect the reality and its truthfulness as the main value, especially if photography serves as a means of research and reconstruction of the past? If photography is an objective image of reality, each of us will subjectively observe it: the photographer, the person commissioning the photograph, and the visitor. Is photography then an objective medium as an ethnographic tool for capturing reality?

The answer could be found by visiting the exhibition called: “Exhibition Ranieri Mario Cossàr, ethnographer – Level of reality: Between creativity and authenticity of photographs from 1928”; opened on December 12th in Pazin Castle and produced by the Ethnographic Museum of Istria. The exhibition is divided into three parts. The first part presents the valuable and extremely important work of Italian ethnographer Ranieri Mario Cossàr, who tirelessly recorded rural life in Istria at the beginning of the 20th century. The second part is dedicated to his research of a traditional wedding in Baderna in 1928. Was it a wedding or a preparation for a folklore performance? The third part of the exhibition will try to clarify whether Cossàr’s photographs are sufficient to answer this question.

Anthropological and museum photography hold a dual significance, as a scientific/professional tool and as the ultimate research goal. The exhibition talks about photography as an ethnographic/anthropological tool, but also about how it wanted to be interpreted in 1928, 50 years later, and how we view photography today. In addition, it also questions the reading of folklore, festivals, and folklorism.

Appropriately, we created the exhibition catalog in the atypical form of a photo album. By presenting public photography as an objective tool through the privacy of a photo album, usually used to fulfil personal memories, we emphasise and explore the space between creativity and objectivity of photographic expression. The form of a photo album leads the reader to a higher level of interaction and emotion, than those present in a standard catalog. Photographs need to be removed from the album cover to access the necessary information about the exhibition, which moves the reader from the passive role of observer, to the active role of researcher.

STUDIO SONDA:

Creative and art direction, copywriting, and design: Jelena Fiškuš, Sean Poropat
Design: Aleksandar Živanov, Sanda Maričić
Account manager: Ana Velić

ETHNOGRAPHIC MUSEUM OF ISTRIA:
Exhibition author: Ivona Orlić
Expert associate: Nikolina Rusac

EXTERNAL PARTNERS:
Exhibition printing and display: Creattiva
Catalog printing: Tiskara Sigra Poreč