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Books

Giorgio Dellacasa: LA HABANA - FOTOGRAFIE DA UNA CITTÀ CHE RICAMBIA LO SGUARDO

Giorgio Dellacasa: LA HABANA - FOTOGRAFIE DA UNA CITTÀ CHE RICAMBIA LO SGUARDO

Author: Giorgio Dellacasa
Texts: Laura Manione, Giorgio Dellacasa
Sponsorship: Ambasciata Repubblica Cuba e Ass. Naz. Amicizia Italia-Cuba
Pages: 108 + risguardi
Languages: Italian/Spanish
Year: 2024
Format: 265x210 mm
Binding: Hardback paperback cover

ISBN 978-88-94-7614-3-6

€ 35,00

Las imágenes de Giorgio Dellacasa, pertenecientes a la segunda generación de fotógrafos occidentales que arribó a la isla entre finales del siglo pasado y nuestros días –entre los que se encuentran Martin Parr y, sobre todo, Alex Webb– se inscriben plenamente en la denominada fotografía callejera, o eso podría parecer. Sin embargo, el condicional es obligado, ya que es preciso incluir ese instinto de viajero auténtico que mueve al ser humano a la comprensión y la inclusión, al tiempo que rehúye toda forma de depredación, incluida la depredación visual de la que a menudo está impregnada la fotografía callejera.
Así, en los breves textos autógrafos que acompañan el libro y lo transforman idealmente en una especie de cuaderno ilustrado y nos permiten adentrarnos en los entornos neurálgicos y periféricos de la capital de una manera no invasiva.Empezando por el título, en el que se habla de intercambio de miradas– se trata realmente de una conversación y no de un monólogo, con todos los matices que, aplicados a la gramática fotográfica, sugieren una conversación amistosa.

Las luces suaves o filtradas pulen los tonos e invitan a la intimidad; las amplias y nítidas zonas de sombra marcan quizá un silencio impenetrable, estableciendo un límite a nuestra presunción; la proximidad o distancia con los individuos, así como sus gestos, miden el espacio de interlocución y admiten distintos grados de confianza. Además, al estar presentes en varias imágenes, los encuadres semisubjetivos o «naturales», como los definía Luigi Ghirri, además de guiar la mirada, nuevamente actúan como elementos discursivos, ya que introducen breves pero agudos comentarios al diálogo.

En definitiva, Giorgio Dellacasa no habla de La Habana, habla con La Habana.

(desde la introducción de Laura Manione)


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Mario Cucchi: C'est la vie...

Mario Cucchi: C'est la vie...

Author: Mario Cucchi
Texts: Gigliola Foschi
Pages: 108 with cover with flaps
Languages: Italian/English
Year: 2024
Format: 175x240 mm
Binding: Paperback

ISBN 978-88-94-7614-2-9

€ 28,00

Photographs of well-composed objects, but with something odd, which makes them like surreal and extravagant toys. However, without any dramatic tension, without any disturbing atmosphere. Even the black and white seems subtle. And the composition is balanced, perfect, as only a master of still life, which Mario Cucchi undoubtedly is, can do. Even the title, C’est la vie, has something merry, but with a bitter hint.

(from the introduction by Gigliola Foschi)

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Giuliana Mariniello: LA CITTÀ VISIBILE (The Visible City)

Giuliana Mariniello: LA CITTÀ VISIBILE (The Visible City)

Author: Giuliana Mariniello
Texts: Massimo Mussini, Charles-Henri-Favrod, Mario Cresci, Giuliana Mariniello
Pages: 100
Languages: Italian/English
Year: 2023
Format: 250x300 mm
Binding: Paperback

ISBN 978-88-94-7614-0-5

€ 30,00

The city that Giuliana Mariniello chooses to depict, in fact, is the one that the eyes perceive: characterized by scaffolding covered with tarpaulins decorated with advertising images or by reproductions of the hidden architectural structure; it is the space punctuated by billboards placed against the background of the buildings; it is public vehicles disguised with decals. Her photographic transcription of this environment, which we almost always perceive unconsciously and without committing ourselves to look in order to understand, is reinterpreted through a selective framing and with the judicious use of the Matisse tradition of  à plat, so as to radically transform the proxemic relationships between the things represented and to arouse new meanings, frequently full of irony.

(from the introduction by Massimo Mussini)


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Franco Carlisi e Francesco Cito: Romanzo italiano

Franco Carlisi e Francesco Cito: Romanzo italiano

Author: Franco Carlisi, Francesco Cito
Texts: Andrea Camilleri, Michele Smargiassi, Giusy Randazzo e Giusy Tigano
Pages: 196
Language: Italian
Year: 2023
Format: 240x320 mm
Binding: Hard paperback cover

ISBN 978-88-94-7614-1-2

€ 68,00

Andrea Calestani: El Navili

Andrea Calestani: El Navili

Author: Andrea Calestani
Texts: Roberto Mutti, Paolo Nizzola
Pages: 84
Languages: Italian/English
Year: 2023
Format: 210x160 mm
Binding: Stitched hardcover, white capitals, square spine

ISBN 978-88-906116-9-8

€ 28,00

There are places where the past and the present meet and almost merge into a plot whose charm is hard to resist. The rain wets the car wind shield with small, boring drops, transforming it into a screen on which the images flow in black and white full of an ancient attraction. The photographer's gaze crosses it to linger on a landscape whose geometric rigour he captures: the bridge that defines the horizon has the imposing solemnity of a church facade but the image becomes dynamic in the lower part crossed diagonally as it is by the line of the parapet that runs along the Naviglio. Today the rare passers-by pay a distracted glance to that iron, those tie rods, those bolts. Yet these elements still retain the signs of an ancient civilization where iron represented modernity, the strength that knew how to resist the ravages of time, the challenge to the future, the same audacity that still characterizes the arches of the railway stations. Andrea Calestani approaches the Navigli with the curiosity of someone who has already experienced Milan in distant years but who is now rediscovering it when faced with places he had never visited.

(from the introduction by Roberto Mutti)

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Michela Liverani: La dimensione silenziosa del corpo

Michela Liverani: La dimensione silenziosa del corpo

Author: Michela Liverani
Texts: Michela Liverani, Susanne Martinet
Pages: 100
Languages: Italian/French
Year: 2023
Format: 270x290 mm
Binding: Cover in fabric with white screen printing, swiss paperback with visible thread

ISBN 978-88-906116-7-4

€ 35,00

Susanne Martinet proposes an inexhaustible research work. The body, embodied, lived, discovers, feels, vibrates. For me it was an awakening, on the surface and in the bowels. It requires a constant presence, listening and willingness to meet, with oneself and with the other, be it an object, a material or a person.
The rigor that Susanne requires during her work allows access to a complex dimension, which holds limits and possibilities together, a practice of feeling, of knowing that needs its own time. It becomes research, which never ends, which holds different languages together, for this very reason it requires an awareness above all in detail.
One detail changes everything, Susanne tells us.
The photographs were taken during the summer internships and meetings; I, a student, felt the need to snap, to stop what I felt and lived with my body, with my whole being. They are images that attempt a balance between inside/outside, trying to connect the inside with the outside.
They have no intention of defining, of cataloging, but of opening up a possibility of reading, a point of view.
The idea of the project, born and shared in a choral dimension, evolved into a book. We felt the need to broaden our research: Susanne's work is Susanne herself, every detail tells about her and how every shape, object, movement of light is part of her sensitive gaze on the world, curious and open to amazement and how it is necessary to make it part of the narrative.
(from the introduction by Michela Liverani)

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Fausto Meli: InVisibilia

Fausto Meli: InVisibilia

Author: Fausto Meli
Texts: Gigliola Foschi, Susanna Gualazzini, Fausto Meli
Pages: 148 + insert 8 pp. in reduced format
Languages: Italian/English
Year: 2023
Format: 213x300 mm
Binding: Stitched paperback binding

ISBN 978-88-90-6116-5-0

€ 45,00

Juxtaposing elements from different realities was one of the cornerstones of the surrealist movement, which adopted Lautrément’s phrase – “the chance juxtaposition of a sewing machine and an umbrella on a dissecting table” - as the manifesto of a new aesthetic based on disorientation and contradiction. By including remarkably incongruous objects in their works, these artists aimed to challenge our expectations, to free the mind from what it already knows and from automatic mental associations. Each of Fausto Meli’s photographs also contains an anomalous element; but in his case, it is neither particularly incongruous nor ostentatious. In fact, it is sometimes so unobtrusive as to be detectable only by paying close attention to the image. The unexpected elements in this artist’s works have a connection with what is shown in the photographs, (futuristic building, a castle on the sea, an old library, a volcanic island...); he creates encounters that have the power to generate new beauty, open up new meanings, new reflections...
(from the introduction by Gigliola Foschi)

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Colomba D'Apolito: d'Après

Colomba D'Apolito: d'Après

Author: Colomba D'Apolito
Texts: Enrico Gullo, Colomba D'Apolito
Pages: 76
Languages: Italian/English
Year: 2022
Format: 170x238 mm
Binding: Stich bound with headbang

ISBN 978-88-90-6116-8-1

€ 22,00

The cutting of an image has an element of paradox: it forces us to come to terms with the materiality of somethng we instinctively deem intangible. John Mitchell, in his Pictorial Turn, dissolves this apparent contradiction when he distinguishes between images and pictures, arguing that "A picture appears on a material background or in a specific place. [...] An image never appears unless in a determined medium, but it also trasends media and can be transferred from one medium to another.".

It follows, therefore, that you do not make cuts in an image, but rather, a picture. But adjusting or touching a picture inevitably means generating new images and this is the precise area the work of Colomba D'Apolito explores, pushing and challenging limits and possibilities. This process of cutting and cropping that works on the support not because of an ant-modern stance, but because of an equally precise choice of field.
(from the critical text of Enrico Gullo, Art Historian and PdD in art history)

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Pierre André Podbielski: Beyond the white wall

Pierre André Podbielski: Beyond the white wall

Author: Pierre André Podbielski
Texts: Roberto Cotroneo, Silvia Bigi
Pages: 100
Languages: Italian/English
Year: 2022
Format: 185x265 mm
Binding: Stich bound with headbang

ISBN 978-88-90-6116-6-7

€ 30,00

Pierre André Podbielski is a companion on this journey: travelling through museum corridors and across illuminated rooms where artworks are watching visitors, rather than being watched by them. They have watched the audience of art lovers that has kept me company for five years, an audience that I see again, with all its peculiarities, in Pierre André's photographs. However his photographic time, his aesthetic surprise inside the exhibition space has one thing that I do not. This is something that belongs
to real photographers, to men like Elliott Erwitt. Pierre André is an ironic, amused, suspended and detached, but sympathetic photographer. In his photographs, it is the smile that binds everything, holding the images together, telling their stories even better.

Photographic irony is an enviable gift, because photography is by its nature always balanced in a state of tension: it is always serious; the seriousness of the realities we experience, and it is always rhetorical. It is the way photography can stop time that makes it so solemn, its way of placing the moment the shot was aken at the centre of our gaze that makes photography a rhetorical moment, in the best sense of the word.
(from the introduction by Roberto Cotroneo)

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Serafino Fasulo: DROP IN – Cadere Dentro

Serafino Fasulo: DROP IN – Cadere Dentro

Author: Serafino Fasulo
Texts: Franco Carlisi, Serafino Fasulo
Pages: 180
Languages: Italiano/Inglese
Year: 2022
Format: 190x280 mm
Binding: paperback, rounded corners, with elastic

ISBN 978-88-90-6116-3-6

€ 40,00

The shaded area in which we hide away from ourselves is so large that it is impossible to even attempt to describe our identity. Those familiar with this shaded area know that to get beyond it you need to undertake a long, hard and at times painful journey down memory lane. Everybody has images from their past which, the more they reveal the profound essence of things and people, the more surprising they are; they clarify this grey area we all have to confront in a way which words cannot, but which photography can; they expose what we are and how we got there. Nonetheless, the past is not inert, and our journey is a game of mirrors where fragments of self awareness and memory, of love and lack of it, of reality and imagination become jumbled up, one moment familiar, the next unsettling. As if the moments we alone recall, and with which we order the months, days and years of our lives, are whimsical, a little bit here and a little bit there. Never diachronical but willy-nilly, typical of haphazard memory. Some return, reassuringly. Others take us who knows where, to elsewheres we have inhabited and lived. They are the pieces of an ever-changing puzzle which is our present, the difficulty is putting them together … later on. And so it is that memories change, just as we change, and they betray us, or, sometimes we betray them. We are wrapped around who we were in a spiral of explanation and interpretation of our world, which, on the last curve replenishes the memory we hold within: the yesterday where we come from. It enriches it, at times actually recreates it. […]

(Franco Carlisi)

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Luca Gilli: Incognita

Luca Gilli: Incognita

Author: Luca Gilli
Texts: Luca Doninelli, Paulo Barone, Emilie Housa
Pages: 100
Languages: Italiano/Inglese
Year: 2022
Format: 205x296 mm
Binding: stitched paperback binding, rounded corners

ISBN 978-88-90-6116-1-2

€ 38,00

In order to talk about the images of Incognita, Luca Gilli’s work dedicated to school at the time of the lockdown and distance learning, we need to deal with some words destined to clutter our gaze: “essential”, “minimalism”, words that could materialize on our lips when looking at these shots.
We could call them lid-words, censorship-words, armchair-words. In most cases they do not express something we know, we merely put them in place of something we do not know, to cover a hole in the vision.

(from introduction by Luca Doninelli)
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Massimo Cristaldi: Suspended

Massimo Cristaldi: Suspended

Author: Massimo Cristaldi
Texts: Franco Carlisi, Joel Meyerowitz
Pages: 100
Languages: Italian/English
Year: 2021
Format: 295x295
Binding: Stitched paperback binding

ISBN 978-88-906116-4-3

€ 42,00

[…] Even when we are faced with an unfinished work of art, the greatness of the authordefines it and makes it magnificent in itself: it is the Unfinished. In fact, it is preciselybecause it has not been concluded that the artist cloaks himself in legend and in a furtherstory that embellishes hisexistence since the immortality of his genius will always be tracedback to his mortal being. The genius is still among us-immortal-, but through thatincompleteness we remember that it was like us–mortal. But an unfinished work of art tellsus even more: it tells us about the creative process, the authorial gesture’s desire that wants toreach the essence, the genius’ vitality that struggles with the indolence of illness, the mysteryof a mind who does not notice the created beauty and abandons it, acontradictory era, like alleras, which establishes the canons but does not recognize the masterpieces. No unfinishedwork of art is minor, precisely because it is more open than a finished work of art. To fullyunderstand the wonder that such incompleteness causes, it is enough to dwell on thediscomfort that instead produces another type of unfinished works: infrastructural, building,urban ones. […]

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Paolo Simonazzi: La casa di Lenin

Paolo Simonazzi: La casa di Lenin

Author: Paolo Simonazzi
Texts: Sandro Parmiggiani, Claudio Gavioli
Pages: 84
Languages: Italian/English
Year: 2021
Format: 16x20
Binding: Stitched paperback binding

ISBN 9788890611629

€ 20,00

Someone who is called Lenin must have a certain destiny. Strong is the imprinting, the connotation of the struggle of the peasants, the popular conscience, the great Communist dream dashed upon the rocks of Soviet dictatorship, but which in our Emilia part of the Po valley, has remained an unrealised utopia. Therefore, those who bear what is more of an honour than a burden may be understood if they dedicate their existence to the simple life of the fields, painted with the colours of the countryside, scented with the smell of hay and stables, framed by the sunsets when the grass changes colour. It is the work in the fields and the peace of nature that brings humans closer to poetry. The poetry of things and the soul, a language that feeds on the vibrations of the damp, fertile earth which at other times is also arid.[...]

The photographic gaze of Paolo Simonazzi perfectly captures the nature of the objects and brings them back to life in their essence made of pastel colours, creative chaos, fragments of a lived life. The opaque mirror which reflects the old typewriter, the brass lamp that hangs from a ceiling of warn beams, the old broken down Jaguar, almost an oxymoron in the proletarian context it is nestled in, the stable with its crooked doors opened out where the animals feed on light and freedom far from the dark mechanised farms, the bizarre clock with the image of Che Guevara on the handmade doily on the dresser, the pendulum on the wall and the old photo of a football team in black-and-white: this is the universe that lives again thanks to the sensitive exploring lens of Simonazzi, the world of objects that seem to stand guard with silent testimony over the peaceful passing of the seasons, when, after the winter, as Zucchero Fornaciari, another child of these lands, sings, the snowfields bloom. A small world, but with a great heart.

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Luca Manfredi: Pavee Kids Ireland - Ostinati prigionieri di sogni

Luca Manfredi: Pavee Kids Ireland - Ostinati prigionieri di sogni

Author: Luca Manfredi
Texts: Maria Tea Vano, Barbara Motti
Pages: 96
Languages: Italiano/Inglese
Year: 2018
Format: 30x27,5 cm.
Binding: Stitched paperback binding

ISBN 9788889109977

€ 30,00

Luca Manfredi has walked the land and has seeded a memory of it’s people with his vision of Irish Pavee kids. Precocious and mysterious lads, they draw upon their inner strength to find a place within themselves where removal from a place does not create sorrow, but freedom. At ten years old with their own horse they are like complete adults. They sway in the meadows with a cerulean aura on their skin and excitement on their faces as if they were continuously singing. They are young, around eight, but for some inexplicable reason they carry on as though they were grown men. They have many siblings among their own kind, were raised without formal schooling, and are children of extended ‘families’ where their own language of signs and gestures are recognized without judgement.

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Samuele Bianchi, Simone Letari, Simona Lunatici: sedimento

Samuele Bianchi, Simone Letari, Simona Lunatici: sedimento

Authors: Samuele Bianchi, Simone Letari, Simona Lunatici
Texts: Simona Lunatici, Alessandro Trabucco, Pietro D'Agostino
Pages: 100
Languages: Italian/English
Year: 2019
Format: 21x28 cm.
Binding: Stitched paperback binding

ISBN 978-88-906116-0-5

€ 30,00

sedimento (sediment) originates from a larger project called Guardo divenire immagine, a two-year research carried out by three photographers: Samuele Bianchi, Simone Letari  and Simona Lunatici. In this book the authors explore places with no documentary intent. They observe them, cross them, live them with an unbiased look which is always ready to embrace what chooses to reveal itself. The word sediment indicates the solid material that settles at the bottom of a liquid following the application of a force.

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