A photographer. A compact Leica. A house in the Marais, Paris. A musician-writer. The mountains of Morocco. A mask, one of the many masks of contemporary times. A vision: a comics character nominated at the 2020 Academy Awards. This is how the visual project “I JOKE, AND JOKE” was born.
What happens when Buddy Guy meets the Grateful Dead? The question may need to be corrected. Need to ask when does Buddy Guy’s blues meet the Grateful Dead’s psychedelic jam? The magic happened in Milan during the North Mississippi Allstars concert at Spazio Teatro 89. The band led by the Dickinson brothers – in the power trio version – performed a 2 hours and 15 minutes live show rejecting any “music label.” North Mississippi Allstars’ philosophy? Jamming, jamming and jamming. Following the mood of the evening, I started a photographic session interrupting myself often, to try to get even more in tune with the band’s vibes. Shot by shot I explored with my FujiFilm X30 the visual nuances of blues and rock. There is nothing better than frames supported by music, you know! Jamming, jamming and (photo) jamming!
Boats can remain in the harbor without sailors. Boats can be abandoned at the mercy of marine currents. But a sea-less boat must make people think. A ship with no sea attracts attention and suggests questions about its dry fate. Why does it lie there on dry land after a lifetime in the water? Who was its captain? Who were its sailors? And its passengers? The camera lens records the fate of these boats with no sea and tries to give them back a poetic fate. The camera lens imagines new ports and new sea routes for them. How many lives could these ships with no sea save?
All frames taken in Naxos, Greece, with Fuji X100 and Ricoh GX100
There have been so many ways to narrate migrations. In the last century photography has recorded the stories of those people forced to abandon their lands of origin – because of war, globalization, famine etc. etc. The project of friend photographer Nino Romeo does not focus on people’s faces – the chosen solution by the press and the media – but he prefers to “interrogate” objects that were washed up or abandoned on the beaches. In 2016 Romeo turns up with his camera, a Nikon Coolpix P7800, on the iconic beaches and bays of Capo Teulada, South-west Sardinia, in the places where a landing occurred. Shoes, t-shirts, plastic bottles now faded by the Mediterranean sun seem to have become part of the local wilderness: there is a delicate sense of continuity between the human need/urgency to migrate and Mother Nature’s unchanging and apolitical welcome. Nino Romeo does not judge what he sees; but his twenty color frames launch a cry of alarm to civil society.