There are differences between Cuypers and Gori in terms of the era and their engagement with photography. In Cuypers’ time, photographs were scarce; in the present day in which Gori works, visual material is, on the contrary, abundant. Cuypers bought the photographs; Gori takes them. Cuypers sought out subjects far from home; Gori seeks them close to home. What connects them is the fact that they both recognize the power of photography and allow us to share in an unknown world—whether far away or close by—each in his own way.
The photographs by Cuypers and Gori are presented intermixed using blue viewers. The photographs have been edited to create a spatial effect. These viewers allow us to engage in a very personal dialogue with these “images of time.”
Het Nieuwe Instituut in Rotterdam partnered with us to bring this exhibition to life.
Pierre Cuypers’ Travel Archive
Throughout his long professional career, architect and designer Pierre Cuypers traveled frequently, not only within the Netherlands but also abroad. To give substance and luster to his career, he—a master networker—knew how to establish and maintain contacts with kindred spirits and potential clients across Europe. During those trips, he tirelessly sketched a wide variety of buildings, sculptures, furniture, plants, animals, and motifs from nature that he found interesting. He also made use of new technological developments, such as photography, to capture his impressions. For example, during his travels, he purchased photographs of the places he visited. Regarding the “tourist spots” in Europe (during the 19th century), textual information is the primary source of knowledge. Visual information—in the form of photographs—is often missing from archives.
Het Nieuwe Instituut in Rotterdam manages this unique archive of Pierre Cuypers.
Photography by Franco Gori
Franco Gori’s regional photography was created in our time, an era in which visual information is abundantly available. Moreover, all the photographs were taken close to home, specifically for the provincial newspaper *De Limburger*. These are major differences compared to Cuypers’s material.
Yet Gori, too, as a passionate and socially engaged photographer, reveals unknown worlds through his work. His photos are not staged (except for the actual portraits) and offer us a glimpse into the subject’s world or reveal things we might otherwise overlook. Gori aims to capture every encounter and every story as faithfully as possible. A hallmark of his work is that he always seeks out hope and strength in his images. His images, in turn, serve as an ode to regional photography.