The crowd in the S.Siro South Stand moves and sings in unison, the team in heart and mind. But if you look closely at this three-dimensional mass, you can see the faces of the individual football supporters. Every face has a story. More than the football players’ performances, these faces have immediately attracted me and continue to attract me. These individual souls are the fuel of competition, but each also changes the dimension and profile of the mass. (All frames taken with Olympus OM-D E-M5)
Just over a week to Brexit.
Brexit and Londoners show a hunched and at times uncertain gait.
This time I decided to abandon b&w and to choose color: I needed to record as much information as possible.
Through my lens colors became faded, people blurred.
Nobody seems to think about the future, they seem to prefer turning their backs on the troubling days to come.
I looked for the most frequent keywords used to describe Brexit in newspapers and… combined them with the frames.
BREXIT COMIN’… People remain…
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Different Lights. Dark suns reflections as wet streets blink in the night. Maybe my photography sounds as magenta color pornography. Tonight – in my 40 minute photo safari – I don’t care about sharpness but I indulge an ephemeral desire to see and feel my different lights.
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
A Friend, an Ibrahim Mahama’s large-scale temporary installation (sponsored by Fondazione Nicola Trussardi/curated by curated by Massimiliano Gioni) in Milan. The Ghanese artist wrapped Porta Venezia Gateway with hundreds jute sacks. (Shots taken with Fuji X100)
<Through his research and the transformation of materials, Mahama investigates some of today’s most important issues: migration, globalization, and the circulation of goods and peoples across borders and between nations.> (A Friend press kit)
Genoa, December 20, 2018: a whole day dedicated to a photo project. Subject: the collapsed Morandi Bridge. I was in town with a friend, creative designer Federico Ramponi. Guiding us via WhatsApp, the Genoese La7 journalist Paolo Colombo, who suggested most of the places we shot from.
With these 29 b&w shots, I want to play the sense of movement of pain and loss against the granitic immobility that dominates the ghost neighborhood’s streets and buildings under the bridge.
I tried to narrate the neighborhood with its bridge from different angles. The hills around the Polcevera stream have proved excellent observation points and allowed me to have a wider and more complete view of the disaster.
Once at home I realized that my shots possessed a sort of camouflage ability: while I was shooting, I continued unconsciously to see the bridge still intact in front of my camera. The horizon, the electric cables, the houses and the neighborhood with its silent architectural geometries have become substitutes for the missing section of the Morandi Bridge.
Observing the series of advertising posters modified directly in the street by artist TD it would be too easy to think about the music of KISS. But TD’s anarchist/punk approach suggests instead we combine his posters with Tricky’s urban rhythms. Armed with photocopies and a glue stick, TD transforms the dreamy boundaries of the aesthetics of Romanticism into a real provocation against the art system, which vacuumed the art born in the streets. Gene Simmons’s tongue caresses the vision of the past of modernity, then spits on it with the arrogance typical of punk. In front of a dog pound or in front of the city prison, TD’s RomanticKISS appears to rekindle the movement of Art.
The original idea for this photo project was to go looking for Jack London’s traces/footprints in the East End area – London visited the East End ‘hoods in the early twentieth century (see The People of the Abyss, 1903). Topography excepted, nothing remains of that early XXth century London.
Starting from the area of the docks and the London Docklands Museum (immortalized in the first two shots) I pursued my research in Spitalfields, Brick Lane and Whitechapel; very soon an initial disappointment was superseded by the curiosity for the “punk” scenarios/scenes that opened up in front of the lens (I shot with FujiFilm X30 and Fuji X100).
Maintaining a historic storytelling, I physically abandoned the first decade of the Twentieth Century and pushed myself closer, towards the present days. So, I discovered the disciples of Banksy (they could be disciples or… might very well be Mr. Banksy himself operating under new pseudonyms), along with melting pot scenes and punk/street attitude.
No Jack London traces were found, but I consider the famous American writer guided me in a subliminal way during a three-days photo walk. Without sinking into the abyss as he did – at the time, Jack London lived eighty days in the slums with the poorest people in London – I pushed myself beyond “the easy job” and I started to collect photos that interacted with each other (in pairs), turning the visual sketches into a document. Each couple of frames is a single voice in a wider story where social and architectural geometries blend or merge into each other.
London, late January 2019