On the occasion of the exhibition Challenge to the Baroque at the Reggia di Venaria, CAMERA - Italian Center for Photography presents the exhibition SEE (il) BAROCCO: work in progress curated by Barbara Bergaglio and Pierangelo Cavanna, open from 19 June to 30 August in the Project Room in the center of Via delle Rosine 18 in Turin.

Through 70 images , the exhibition tells the way in which a large group of photographers - Paolo Beccaria, Gianni Berengo Gardin, Giancarlo Dall'Armi, Pino Dell'Aquila, Giuseppe Ferrazzino, Giorgio Jano, Mimmo Jodice, Aldo Moisio, Riccardo Moncalvo, Ernani Orcorte, Augusto Pedrini, Giustino Rampazzi, Daniele Regis, Roberto Schezen - have "looked" to the Baroque, in particular to its architecture, in the Turin of the twentieth century .

The project and the challenge of this exhibition - the curators comment - arise from the need to understand how and to what extent the dialogue with the baroque architecture of which Turin is rich has urged the most sensitive photographers to verify and implement descriptive solutions that, overcoming the documentary intention, they have progressively assumed a different, more interpretative and critical meaning.

The exhibition therefore focuses on the different ways of photographically describing Baroque architecture, a practice that has accompanied the growth of their critical fortune and their recognition in the collective imagination. A way of looking that has changed over the years: from the simple descriptive intention for documentary purposes to the elaboration of refined interpretative tools, marking the passage from the simple “ baroque photographing ” to an actual “ baroque seeing ”. Photographs - continue the curators - only apparently bizarre, momentarily unrecognizable and immeasurable compared to our consolidated way of seeing. Photographs that live on a baroque multiplication of escapes, glimpses, consequent projective deformations to retain and transmit the excitement induced in the eye of the observer. To witness an experience, therefore.

The comparison with the spaces and volumes of the architectures of Guarini, Juvarra and Vittone has urged, and almost imposed, on these photographers the need to redefine the idea of photography of architecture itself, constituting an opportunity for a continuous transformation of narrative intentions, that change over time, passing from a descriptive functionality to an explicitly interpretative and critical one, in which baroque is no longer just the object of the shot but connotes the ways in which this object is re-proposed.