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Giuseppe Pagano: Giacometti

Giuseppe Pagano: Giacometti

Giuseppe Pagano’s journey in the world of Alberto Giacometti commences with the small stones placed on the sculptor’s grave, in Stampa, at the local cemetery surrounded by the high rock faces of Val Bregaglia. From that moment on, and on several occasions, he keeps returning to this valley in pursuit of the evidence of a suspended transition: “I could feel that that place was calling me” – he said – “everywhere I looked I could see unequivocal signs, as though his presence were blocked in that place”. It is only through death that man is, in some way, freed. Death makes life solemn and so, as Berger says, “the essence of Giacometti’s work is the awareness of death”.

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Napoli mare

Napoli mare

If each narrative, as Algirdas J. Greimas states, has thresholds, then cities too have entrances, borders and contours. Naples has often been conquered from below, taking advantage of its ancient Greek aqueduct to enter the city; in fact Naples has an underground and conspicuous contour with no light, made of age-old, dark waters. For centuriesmits beauties have been approached by the sea, then inland journey being long and tiresome. And if the old heart of the city beats without the sun and sea, as in Caravaggio’s paintings and Anna Maria Ortese’s novels, its contours, even the most distant ones like those of the splendid Campi Flegrei, are rather flooded by light. \...\
Carlo Desideri has done a radiograph of its coasts and novelists, pursuing through his photographs those places which have been endlessly described by writers and voyagers.

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Effetto nottetempo

Effetto nottetempo

Nocturnal places like suggestions which surface from the darkness of a virtual canvas. Unusual dwellings and spaces in which the lunar, artificial light seems to blend with the wind to create new forms and original visions,
in which the invisible becomes perceptible...
or perhaps these are simply moods, amplified by the dark.

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Donne di Scanno Oggi

Donne di Scanno Oggi

At the end of the 1950s Giuseppe Turroni criticized bitterly the photographs that Mario Giacomelli had taken at Scanno, defining them as “the quintessence of southern rhetoric”. If the great critic were still among us, he would certainly praise Antonella Monzoni’s portraits: “Scanno’s women have finally been photographed without rhetoric”. No more black skirts, but white coats to work in restaurants’ kitchens, pharmacies, confectionery labs, bakeries, shops… The new Scanno’s women draw cheques and settle invoices via the Internet with their own credit card. They no longer balance on her heads baskets full of wood to stoke the fireplace in view of a long cold winter with their shepherd husbands away in Puglia. Time changes everything and the artist – Antonella Monzoni in our case – often anticipates and bears witness to these changes.
Yet you can sense a certain continuity in the eyes of these “new” women, a connection with those photographed by Hilde Lotz-Bauer, Cartier-Bresson, Giacomelli and many more.

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Ferita Armena

Ferita Armena

Melancholy, rain, snow, windswept landscapes, run-down Soviet buildings, fighting dogs and many sad flowers scattered on the ground in front of the twelve basalt slabs of the Genocide Memorial on the hill of Tsitsernakaberd (“swallow’s fortress” in Armenian); but also raised fists, the symbol of the Armenians’ eternal struggle to ensure that the terrible 1915 events are not forgotten, and untamed faces with fiery eyes bearing the burden of an ancient sadness.

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Year XXIV #71

Year XXIV #71


Quarterly magazine.

148 pages, format mm 210 x 300.

The publication is aimed at an audience of amateurs, professionals and artists as a source for further study, debate and anticipation of creative trends.

Browse a sample of the magazine Browse a sample of the magazine


Cover © Luca Manfredi

Editorial [Franco Carlisi]


Shinya Masuda Hanafuda Shouzoku [Leonardo Distaso]
Albarrán Cabrera This is you [HERE] [Giusy Randazzo]
Giulia Gatti La danza delle confessioni [Sergio Labate]
Nelli Palomäki Share [Dario Carere]
Patrizia Mussa Tempo storico e tempo fotografico [Oscar Meo]
Stefano Parrini Fragili come montagne [Debora Randisi]
Nunzio Battaglia Still Food - Landscape [Marco d'Annutiis - Paolo Barbaro]
Julien Lombardi La transizione armena [Saverio Ciarcia]
Claudius Schulze [Alberto Giovanni Biuso]
Leonardo Bencini La fotografia come racconto deformato e deformante della realtà [Alessandro Ciarcia]


An interview by Franco Carlisi
Fausto Podavini


Premio Bastianelli 2018
Per il miglior libro fotografico dell'anno


Prix Pictet. Space
W. Eugene Smith Vita sacra e profana nella fotografia [Giovanna Gammarota]
Giancolombo Fastival! Il cinema si mostra


Luca Manfredi Pavee kids Ireland [Pippo Pappalardo]
Riccardo Bononi Une belle vie, une belle mort [Ines Testoni]


Iconotesti - Fototesti
Pippo Pappalardo


Cortona on the move 2018
FO.TO Fotografi a Torino