The reinstallation of the photography section at Palazzo dei Musei in Reggio Emilia for 2026–2027 explores what Luigi Ghirri called the “strange and mysterious kinship between sound and image”, a relationship that had always fascinated him. A passionate music lover, Ghirri assigned music a central role in his life and work; this is evident in his devotion to Bob Dylan, his deep friendship with Lucio Dalla and his significant record collection. It also emerges in his writings, which are interwoven with references to the influence of music on the way he saw and the way he constructed images. Like painting, philosophy, literature, photography and cinema, music contributed to shaping that “image of the outside” on which Ghirri constantly reflected, recognising in it – much like in photography – a narrative power capable of opening up true “visionary ruptures”.
An entire nucleus is conceived as a space for experimentation and reflection around the theme of the soundscape, thanks to the participation of musician Iosonouncane. Creating a dialogue between Ghirri’s “ecology of vision” and R. Murray Schafer’s “acoustic ecology”, the intervention seeks to convey the depth of a line of thought which – though developed in different contexts, yet in the same years – points to an increasing difficulty in seeing and hearing; a saturation that affects the environment, the outside world and our relationship with nature. From this perspective, the sonic landscape and the visual landscape correspond as two modes of orientation, two forms of relationship with the environment and what surrounds us.
A focus devoted to images created for RCA classical music covers is installed in the octagonal hall of Teatro Valli. This choice recalls a place that was central to Luigi Ghirri’s experience; he collaborated for many years with I Teatri di Reggio Emilia, photographing performances and spaces. Alongside the covers, the exhibition will present valuable images held in the Teatro Municipale Historical Archive – photographs of productions from those years that reflect how Ghirri saw both the stage and theatrical time.