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ARTISTS IN N. 67

New Releases

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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Somewhere

Somewhere

There are books of photoraphy that speak to each one of us, with images that take us back to an emotion that, even thought we do not remember where or when, we feel we have experienced. These are pictures that show us something we have already seen; however, a new perspective, a different glance convey something we have already known as if it were the first time, the vey first time for something that we are already familiar with. SOMEWHERE of Luisa Menazzi Moretti is a photographic book that invites the reader to a poetic complicity with the author, in pursuance of a new value to what the author has set on the photographic paper.


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Fairy Glaze and other stories

Fairy Glaze and other stories

Carla Iacono, conceptual photographer, uses the portrait to investigate the moments of transition and explore the territories of the unconscious. It is an autobiographical path, born from the desire to underline the ongoing spreadingof a “non-culture” based on manipulation and negative models of which the teenagers seem to be the first victims.
The adolescents must learn to manage new stimuli and relate to the outside world in a new way; they feel the need to explore the new physicality, but in the meantime they experience nostalgia for their childhood and a sense of inadequacy for their changing body.
All this can cause fears and misunderstandings, starting self-defense mechanisms such as aggressivity, provocation or isolation.


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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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LAST ISSUE

Year XXIII #67

Year XXIII #67

SUBSCRIBE TO GENTE DI FOTOGRAFIA

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

TABLE OF CONTENTS 67

Editorial
Franco Carlisi

PORTFOLIO

Ellen Kooi Gatekeeper [Vittorio Iervese]
Charles-Henry Bédué From images to the psyche [Salvatrice Graci]
Cody Bratt On the road [Giulia Raciti]
Elisabeth Sunday Africa rediscovered [Leonardo V. Distaso]
Angelo Zzaven The transfiguring gate of rememberings [Oscar Meo]
Yusuf Sevinçli Heroic compassion [Giusy Randazzo]
Ohad Matalon Poetry of margins [Saverio Ciarcia]
Massimo Cristaldi Suspended [Loredana Sferrazza]
Natalia Wiernik The protagonists [Alessandra Ciarcia]

CLOSE UP

An interview by Franco Carlisi
Laura Serani

BOOKS

Fausto Meli Effetto nottetempo [Gigliola Foschi]
Federica Sasso Sick Sad Blue [Gigliola Foschi]

EXHIBITIONS

Lisette Model [Tano Siracusa]
10 years old Being Political
Fondazione Fotografia Modena
Alisa Resnik The vast night [Pippo Pappalardo]
Pio Tarantini Evenings in the southeast (in blues) [Pio Tarantini]

AWARDS

Prix HSBC pour la Photographie

PUNCTUM

Alfred Stieglitz The Steerage [Giacomo Bertamino]
Enzo Sellerio Racalmuto, at the end of the 60's [Gaetano Savatteri]

PHOTO FAIR

MIA Photo Fair 2017

REFLECTIONS

Criticism, growth and mad women [Augusto Pieroni]