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Which always making reference to its framing, to the vision of its photographer, and reflexively photography itself, and thus its artificiality, casts the photos as rubber substance of malleability rather than the hard stuff of "documentary." Rather than the total staging of Wall, or the total rendering of today's, Ghirri's photographs stress the elasticity in the making the real, an otherworldliness manifested by the photographer which, like Ghirri always taking photographs of other photos irrupting new dimension in our world - a strangeness if there ever was one - the view is the subjectivity of the viewfinder, not what the photograph saw but what they made reality be, or something, a weird and rubber world. It's a subtle and hallucinatory effect to see continually see the subtle distortion of the world by its photographing.
See too: Peter Piller at Capitain Petzel
