“If I were to find an adjective to describe Claude Iverné’s work, it would be “attentive”: attentive in the sense that he pays attention to others, but without pity, without seeking to produce an effect, without pathos, without any of those things that were once associated with Africa and the African situation, namely Africa in crisis. He is attentive because his images require time to be made and to be read, as well as a kind of concentration.
Then, it’s true, they are produced on human scale, but at the same time with a certain remove, which I think constitutes the power of Claude Iverné’s work. I believe he introduces—in a way that distances them—the myths about Africa, which are for me, and I imagine for him, too, ultimately Western myths.”
Quentin Bajac, New York, January 2017
At the beginning of the 20th century, Swiss Pierre Gilliard spent thirteen years at the Russian court as a tutor to the five children of the imperial family: Olga, Tatiana, Maria, Anastasia and Alexis. He quickly became a close friend and confidant of the children, especially of the Tsarevich, whose health was very precarious due to a hereditary disease.
His position allowed him to live in the intimacy of the Russian imperial family, whose captivity and tragic fate he shared until the last moments. Perhaps because he was a Swiss citizen, he was spared at the last moment.
A passionate photographer, he took dozens of pictures that he was able to save by discreetly entrusting them to the British consul. These singular photographs show the intimate face of the imperial family, without censorship or manipulation, far from the official portraits.
“Mario Cresci reprinted Baudelaire's portrait 46 times, as many as the years of life of the florist of evil, then he crumpled up each print in a different way to cover his face: only the eyes remain visible, the eyes that saw the dawn of the medium that overturned our visual culture of the planet.
But perhaps the poet's gaze was not one of anger, only of resignation. Baudelaire already knew that this "refuge of failed painters" would not remain in the humble position of servant of the arts and would end up "crossing the threshold of the imaginary". Cresci is the man who has embodied this destiny in half a century of work with, for and about photography. Graphic artist, designer, teacher, multimedia artist, certainly not "just a photographer", Cresci belongs to a generation of explorers of the visible (Migliori, Mulas, Vaccari,...) who did not feel the sacred fear of the "photographic specifity".
(Michele Smargiassi, Blog)
... he set out in July 1610 with a felucca that, weekly, sailed to Porto Ercole and back, but secretly directed to the port of Palo di Ladispoli, under the fief of the Orsini, in papal territory, a place about 40 km from Rome. In that fief he would have waited, in all safety, for the papal pardon before returning, as a free man, in the Eternal City.
The most certain hypothesis says that the arrival in Palo di Ladispoli, disregarded by the coastal surveillance, caused his arrest so that he would be investigated. However, the felucca, not being able to wait, disembarked Merisi and continued the route north, near Porto Ercole, where he actually had to arrive, however, bringing the artist's luggage. Those crates, however, also contained theprice agreed upon by Merisi with Cardinal Scipione Borghese for his definitive freedom: in particular three of his paintings..
“Carli captures what usually escapes our distracted gaze, constantly turned towards the useful and not the reality of being”. — Jean-Claude Lemagny, the former Photography Curator of the National Library of France.
Enzo Carli, sociologist, journalist and photographer by necessity, has participated in exhibitions and conferences on photography in Italy and abroad. Affectionate student and friend of Mario Giacomelli, he is the author of essays and publications on photography and communication through images. He has been aconsultant on photography ; artistic director of Human work, an European project on photography (Italy, Spain, Germany, Romania), he has collaborated with the National Library of France(BNF) on the occasion of the exhibition: "Metamorphosis" by Mario Giacomelli (2005/2006).
“Deserts have always fascinated photographers - says John R. Pepper —They often enter deserts in order to capture the beauty of the landscape. As beautiful as that might be, I wanted to go beyond that. My concept, my goal, was to use the desert as a painter uses a virgin white canvas. I sought to discover what imagery was revealed to my eye — sometimes it was figurative, sometimes abstract — creating a symbiosis between the landscape in front of me and the images buried within me. At the end of this subliminal research, my photograph, my "canvas", became an expression of my deepest being, of my perceptions as an artist."
Three years, 18,000 kilometers traveling in the deserts of Dubai, Egypt, Iran, Israel, Mauritania, Oman, Russia and the United States, allowed Pepper to discover evocative places that express a unique complexity and emotional diversity.
This project is the result of a photographic workshop, in memory of and in tribute to Mario Giacomelli, poet of the image
The main idea of the image is to reconstruct in order to build, to reconstruct a past reality to relive an ancient memory given by the immutable testimony of the fields, the land of the peasant civilization, transfused by poetry.
Photographing through the re-proposition of the marriage on the threshing floor the essence of the ritual, the evocation of feeling, int he recovery of the primordial origins...
A search for anthropological images in which, in every fragment, in every tangible form is hidden the dimension of man, the cycles of nature and mother earth in the traces of hidden meanings..
Nino Migliori surprises with the extent of his production and the diversity of the projects he has realized. Tataouine's name became famous worldwide when George Lucas, who shot the original Star Wars film in various locations in Tunisia, named Luke Skywalker's fictional home planet Tatooine.
The popular expression "to go to Tataouine" or "to go to Tataouine-les-Bains" means to go and get lost at the end of the world. This expression comes from the presence of the prison and the remoteness in a desert region and the addition of the suffix "les-Bains" suggests that the only interest of the city would be its public baths, which do not exist. In the popular Quebec language, the verb "tataouiner" means "to lack celerity", or more figuratively, "to procrastinate uselessly", but seems to have no etymological link with the city of Tataouine
Artist and craftsman Mario Santoro began this remarkable 5-year project in 1997 — just before the advent of the new millennium — as a way to celebrate Rome’s distinct character and enduring legacy. His vision as an artist is evident in the striking composition and structure of each work, while his dedication as a craftsman is unmistakably present in the exquisite paper he handmakes for each photograph. His exhibition, Roma, offered viewers an unparalleled glimpse into the texture of Rome. In Santoro’s work, ancient monuments, age-old photographic processes, and new technologies merge, compelling viewers to re-examine the Eternal City through the lens of Santoro’s artistic vision. Layers of knowledge interact as viewers glimpse in each photograph pieces of Rome’s story, still being written as the city takes its place in the new millenium. Last exhibited in the Musee de L’Elysee Lausanne in 2002, Santoro’s enduring photographs can once again be seen here at Biennale di Senigallia