Luigi Ghirri’s Kodachrome (1970-1978) examines the interplay of reality, representation, and mass media, highlighting the impact of found images and advertisements on cultural narratives. Building on his earlier Cardboard Landscapes (Italian: Paesaggi di cartone), Ghirri expanded his exploration of public imagery. Against the backdrop of 1970s Italy's rapid modernization and consumerism, Kodachrome delves into the era's socio-political shifts, marked by lingering post-1968 disillusionment and the pervasive reach of mass media. Rather than confronting these themes overtly, Ghirri employs a subtle and poetic lens, encouraging a contemplative view of cultural transformations.
Ghirri’s artistic vision in Kodachrome is centered on themes of reality and its mediated representations. Through his focus on advertisements, billboards, and visual artifacts, Ghirri blurs the line between constructed and real environments. His exploration of “deleted space,” the areas outside the photographic frame, emphasizes the selective nature of visual storytelling, encouraging viewers to consider what lies beyond the confines of the image. The project also engages with the concept of "flattened experience," as Ghirri’s compositions often mimic the two-dimensionality of printed media, reflecting on the simplification and idealization prevalent in mass media imagery.
Visually, Kodachrome is characterized by tight cropping, geometric framing, and a muted color palette, achieved through the use of the eponymous Kodachrome film. The series eschews dramatic contrasts and artificial lighting, favoring natural illumination to enhance its documentary feel. The choice of color photography aligns the project with mass media aesthetics, yet Ghirri’s restrained approach imbues the images with quiet introspection. This juxtaposition of commercial vibrancy and subdued observation underscores the tension between surface appeal and underlying critique.
Technically, Ghirri’s methods reflect his conceptual priorities over technical showmanship. Utilizing standard lenses and relying on professional photo labs for development, his straightforward approach emphasizes the authenticity of his subjects and compositions. Ghirri’s deliberate use of Kodachrome film, associated with both professional and amateur photographers, aligns with his vision of photography as a democratic medium, accessible and relatable to diverse audiences.
On its 1978 self-publication, Kodachrome circulated widely in Italian and European contexts. Visibility expanded with L’immagine provocata at the Venice Biennale (1978) and the anthology show Vera Fotografia (Palazzo della Pilotta, Parma, 1979). A facsimile reissue by MACK (2012) and the exhibition Luigi Ghirri: Kodachrome (Matthew Marks Gallery, New York, 2013) broadened international reception, while the retrospective The Map and the Territory (Museum Folkwang; Museo Reina Sofía; Jeu de Paume, 2018–2019) consolidated its role in readings of Ghirri’s early color practice.
