Category Archives: Webzine


Francesca Masarié | Transiberiana

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Nella nostra immaginazione collettiva la Transiberiana rappresenta un viaggio mitologico, per la maggior parte dei russi non è che l’unico modo di spostarsi nel paese più grande del mondo. Attraversando quasi 9300 km e 7 fusi orari, il convoglio si muove fuori dallo spazio tant’ è che , per convenzione, si mantiene l’orario di Mosca. Ovunque si vada, qui tutto è lontano e i passeggeri si ritrovano in una forzata, ma non per questo mono naturale, intimità.

seconda selezione_01

Paola Favoino | Burrneshe

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In Albania ci sono donne che diventano uomini rinunciando per sempre all’amore, al sesso, alla femminilità. In cambio ottengono onore e rispetto sociale. Un’esistenza di lavoro e responsabilità, ma anche di privilegi concessi solo agli uomini. Il loro nome albanese è “burrneshe” e, probabilmente, esistono da oltre 600 anni, da quando cioè, con la legge della montagna, il tempo da queste parti si è fermato.


Andrea Roversi | Once upon a time

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Three brothers.
Three lives.
Nothingness around, maybe it’s all we need.
A sense of peace that seemed lost.
Bent backs and ruined hands because, after having fought against the world, they tried to comfort it every day.
Once upon a time… and somewhere, it still going on today.
In the countryside of Umbria, in a small village that shifts from three to ten inhabitants, Armano, Bastiano and Giovanni live and have always lived. Three brothers who walked together for almost ninety years, surviving a world war, famine, harvesting wheat, leading the animals to the grazing, often living without electricity and watching almost a hundred years of history as shy and silent spectators.
A timeless story, almost incredible for “us”, distracted and overwhelmed by an evolution that absorbed us.
A story that I decided to tell to investigate a gash of the world which seems very distant but in fact is part of us.
Three brothers who live in an indefnite time, and who remind us of our forgotten origins, the work of our grandparents, the sweat working in the felds, and the tears for a spoilt harvest.
Three brothers who wake up when the rooster sings and follow the unfolding of the day without frenzy. A story that made me rethink our comfortable lives, fast and full of a freedom which made us prisoners of ourselves.
This project, started as a research of my past, has turned into a project on happiness.
That happiness we often lose, between the everything and nothings of this present time.


Lavinia Parlamenti e Manfredi Pantanella | Roundabout Cyprus

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Comic does not exist outside the pale of what is strictly human (…)
You may laugh at a hat, but what you are making fun of, in this case, is not the piece of felt or straw, but the shape that men have given it, the human caprice whose mould it has assumed.

(Henri Bergson, 1900)

Cyprus road system is as much bizarre and confused as this mediterranean island’s history.Since 1974, Cyprus has been divided in two separated geographical areas – the northern side under turkish domination and the southern under greek influence – each one having its own legislative, political, economic, religious, linguistic and cultural system. Greeks GPS and cell phones do not work in Turkish Republic of Northern Cyprus. Once you’ve crossed the checkpoint, GPS stop recognizing streets names. Since TRNC is only recognized as autonomous state by Turkey, official maps maintain the old greek nomenclature dating from before the occupation in ‘74 even if the turkish inhabitants of Cyprus do not understand greek or read the alphabet.

The result is a confused system of double denominations, making it almost impossible toreachyourdestinationbasingyourselfon official maps.

Roundabout#Cyprus project explores the consequences of Cyprus political situation on the topography of the island, that stands today as the last divided country in Europe.

tandis que la peinture s'écaille

Julie Hascoët | Tenir rester

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Suspended forms, impressed, floating, alight, undefined features of an unknown everyday existence, mysterious, silent, between structures and monochromes from which emerge familiar but distant images, as if they were apparitions from another universe: engrams conserved in photographic form in an attempt to recompose an atlas of experiences, among visions rearranged with a glance through the camera lens. From the disorder of daily life and seeing through the eyes of the unknowing rhythm of our Time, to the attempt to give breath to the entropy, Julie Hascoët recalls our attention to objects and shapes that we normally scarcely notice in the frame of our visual space.For the photographer, the objects, the shapes hold in themselves a kind of memory, and what they express also rapprsents what they were, in a continuous and inevitable metamorphosis. The title of the series, “TENIR/RESTIR”, perfectly expresses the sensation that the images leave us with. The choice of verbs in the infinitive does not appear to be accidental; it almost seems to remind us that this fragment of time that we are observing is preserved in a larger interlude than that of the instant captured in the photograph. In the absence of a human form, in this personal re-examination of the still life, any discontinuity remains unnoticed. The human element is “recognizable” in the spark that animates the “scene”: the light left on, the pomegranate left on the table… These traces of humanity give a sense of emptiness, of fragility, as if we were observing the ruins of a planet that had lost its “oneness”, but they also represent a form of resistance, evoked by the force contained in the time of their existence.


Andrejs Strokins | People in the dunes

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“My address isn’t a city. My address isn’t a town. My address isn’t a street. My address is the ‘Soviet Union.” These are the words of a dressmaker from Leningrad (reported by the New York Times in 2006) who, during the Second World War moved to Bolderaja, one of two neighborhoods of Riga in which Andrejs Strokins is now working on the PEOPLE IN THE DUNES project. The other neighborhood explored by the photographer is Daugavgrīva Island; both run along the left-hand side of the Daugava River, a bridge connecting them.The dressmaker’s remark expresses a way of thinking still deeply rooted in Latvia, a country characterized by a large Russian-speaking population. Andrejs still remembers when as a young boy his nursery school teacher told him that his real grandfather was Lenin, creating a bit of a turmoil in his family. This along with other, similar experiences from his early years in Bolderaja – in a the time when the country was still a part of the Soviet Union – drew the interest of the photographer towards these parts of the city, suspended as they are between the natural beauty of the dunes (of which the ancient fishing villages were a part) and the stark severity of the area’s typical Soviet architecture and nearby military zone.Andrejs develops his study along these confines and he recognizes in this situation a paradigm of contemporary problems: a dichotomy between the recent past and a Latvian identity still struggling to reassert itself. In this cultural landscape, figures and atmospheres assume a light and evocative character, which, like a thin film, envelopes the problem-laden reality of the city, leaving one to sense a desperate Pasoliniesque vitality.


Juan Aballe | Country Fictions

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“Country fictions” represents the search for another world: a dreamed, wished for rustic sanctuary. If we consider the origin of the verb to wish for, we find an evocative image: “to stand, waiting under the stars”. In this story, the wait seems endless, and the author, who seems to abandon himself to the dream, senses that his life cannot coincide with this break from contemporary reality, with this utopia that in his eyes reveals itself as an illusory escape route. However, as Jörg Colberg explains, writing on Country Fictions: “the beauty of a utopia, of course, is that it does not have to conform to any sort of reality. It’s a utopia after all. Country Fictions confronts us with our dreams, and it would be foolish to deny that we have them.” Throughout these pages, in fact we see seemingly idyllic moments pass by, in the tranquility of a countryside unaware of the visual and acoustic dissonances typical of those endless megalopolises into which the continents are slowl y drifting.Realized between 2011 and 2013 during a series of trips through the Spanish peninsula and following in the footsteps of a few friends who had moved to the country, the work unfolds as a collection of daydreams in which a quiet and courageous humanity tries to reshape its life amid the tremors of modern crises – not just economic – that sees southern Europe among the hardest-hit areas. Thus Country Fictions, setting out as a “personal” investigation, tells a story of renewed nostalgia for a world that seems ever farther away and unknown, at best enjoyed in one brief moment of vacation and that continues to stir in us like that perfect Eden to which to return.


Roberto Boccaccino | Youngsters Hunters

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“Hunting is something that we surely don’t need anymore, but that probably we can’t miss yet.”
I’ve realized this series in Finland in the end of last year, about the hunting (especially the one to the moose) trying to have a “youth angle” of the story, as I usually like to do. As you know hunting in Northern Europe and Scandinavia is extremely widespread and practiced, and Finland is an excellent example of that. It is indeed the fourth country in the world for firearms ownership, for the purpose of hobbies, collection and game hunting. According to the latest ranks about 43% of Finns have a gun license. Hunting is definitely the sphere which influence more this data, constituting a very significant aspect in the culture and tradition of Northern European and Finnish in particular. Over there also the youngsters under 18 years old can get a license, and several thousands of them – especially from small communities and villages – apply every year. In those areas hunting is a strong part of their identity, it’s their way to relate to the surrounding environment and to belong to it. And youngsters often grow up and shape themselves following that identity and that sense of community.

La caccia nei paesi del nord-Europa è estremamente diffusa e praticata.
La Finlandia è il quarto paese al mondo per possesso di armi, a scopo di hobby, collezionismo e caccia sportiva. (secondo i dati più recenti si contano circa 45 armi da fuoco ogni 100 persone). La caccia è sicuramente l’ambito che più influisce su questo dato, costituendo un aspetto molto consistente della cultura e della tradizione nordeuropea e finlandese nello specifico. Ho seguito diversi gruppi di cacciatori di alcuni villaggi nella Finlandia occidentale e meridionale, in diverse situazioni, raccogliendo informazioni su questo tipo di attività, come si svolge e soprattutto sulla gente che coinvolge. In Finlandia anche i minori di 18 anni possono richiedere e ottenere una licenza di caccia e sparare sotto tutela e responsabilità di un adulto, e in diverse migliaia – soprattutto in quei villaggi e piccole comunità dove la caccia costituisce un elemento identitario importante – ne fanno richiesta ogni anno. È il loro modo di relazionarsi con l’ambiente circostante e di sentirsi parte di esso. “La caccia è qualcosa di cui certamente non abbiamo più bisogno, ma che probabilmente non possiamo ancora permetterci di perdere” è forse il modo migliore per riassumere tutti gli aspetti di un argomento molto controverso e discusso, in termini di ambiente, morale, economia e sicurezza.


Valerio Polici | Ergo Sum

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Growing up is a complex and sometimes a very painful pro- cess. The responsibility, the re- nouncements, and the loss of wonder could be often hard to accept. Terrorized by this tran- sition, some kids decide to stop for a while, in a halfway stage, to have their “out of time”, be- fore the serenity and the care- lessness vanish forever. Valerio Polici decided to speak about this suspension through the story of a community of some graffiti writers, who found in their activity the per- fect medium to escape. In the obsessive research of a mo- mentary freedom, they tend to substitute the real world with the micro-reality they feel to belong to. Their existence is thrown in this limbo populated by myths, legends and heroic deeds, and where they often remain locked for the entire life. The appeal of being outlaw, the obstacles, and the theatri- cality of the settings in which their “missions” take place make their life look like that of some modern knights-errant, with their constant request for new adventures. In the last two years, Polici has followed sev- eral groups of graffiti writers, in Europe and also in Argen- tine. Between raids, climbing, endless rides and adrenaline, this is the story of their escape.

Diventare adulti è un processo complicato e a volte molto doloroso. Le responsabilità, le rinunce, la perdita dello stupore, non sono sempre facili da accettare. Terrorizzati da questo passaggio alcuni ragazzi decidono di fermarsi o per un pò in uno stadio intermedio, di prendere la loro ora d’aria, prima che spensieratezza e leggerezza svaniscano per sempre. Valerio Polici racconta questa sospensione, attraverso una comunità, quella dei writers, che nei graffiti trovano lo strumento perfetto per quest’ evasione. Nell’ossessiva ricerca di una libertà momentanea, tendono a sostituire il mondo con la loro mitica realtà, alla quale sentono di appartenere davvero. Le loro esistenze vengono catapultate in questo limbo popolato da miti, leggende e gesta eroiche, dove spesso rimangono intrappolati per tutta la vita condannandosi a un eterno vagare. Il fascino del proibito, gli ostacoli e la teatralità dei luoghi dove si svolgono le “missioni”, fanno sembrare le loro vite, quelle di moderni cavalieri erranti sempre alla ricerca di nuove avventure. Negli ultimi due anni, Polici, ha seguito diversi gruppi di writers, in Europa e in Argentina. Tra incursioni, scalate, corse infinite e tanta adrenalina, questa è la storia della loro fuga.


Mateusz Sarello | Swell

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“Swell” was born in autumn 2010 as a documentary project about the Baltic Sea.
During this work, Mateusz Sa- rello was accompanied by his girlfriend. But after the break-up, only a dozen of postcards remained from those days, marking the beginning of something that still has not found a conclusion. The boundary between the ini- tial trips to the beach and the attempts to escape from the reality is indicated by an image. It is the portrait of the girl, a souvenir photo, one of the per- sonal images that Sarello ne- glected, thinking that it should survive only in his mind; so the negative was destroyed by mi- stake in the laboratory. That was the turning point that led the author to construct a new narration, to face exhau- sting trips, driven by the need to return to his Baltic Sea, to the same unforgettable places and memories. “Swell” becomes, therefore, an aggressive story about loneli- ness, absence and the inability to accept and let go.

“Swell” nasce nell’autunno del 2010 come un progetto documentario sul Mar Baltico. Durante la lavorazione, era accompagnato dalla sua partner. Ma di quel progetto, dopo la rottura sentimentale restano solo una dozzina di “cartoline” a colori che segnano l’inizio di qualcosa che non ha ancora trovato una conclusione. Il confine tra quelle che in origine erano gite al mare e si trasformeranno in viaggi di fuga dalla realtà, è segnato da un’ immagine. E’ un ritratto della ragazza, una foto souvenir, una di quelle fotografie a cui Sarello non da importanza, preferisce che le immagini di vita personale restino solo nella sua seta, infatti non la sviluppa personalmente e il negativo viene distrutto per errore in laboratorio. Da qui, il momento di svolta che porta l’autore a costruire una nuova narrazione, affronta i viaggi esausto, spinto dall’esigenza di tornare al suo Mar Baltico, agli stessi luoghi e ricordi che non si possono dimenticare. “Swell” si trasforma così in una storia che tratta aggressivamente la solitudine, l’assenza e l’incapacità di accettare e lasciare andare.