Happy 2010!

Washington, D.C. New Year celebration, 1940. National Photo Company Collection, safety negative.

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Fragile present

Reconstructions © Iosif Király

"Iosif Király (b.1957) is an artist working with photography, based in Bucharest. His work focuses on the relationship between perception, time and memory."

Well, he couldn't have summarised better the vast amount of images spread in several bodies of work, where the tension between grasping the reality as it is happening and the urge to question our own gaze on things is palpable everywhere; so he seems to move in a present time that is constantly haunted by its past, that needs to be constantly framed, reconstructed, interpreted, before it disappears again and becomes something else, once more.

His work can be viewed within the group exhibition History, Memory, Identity. Contemporary Photography from Eastern Europe (from 13th December 2009 to 14th March 2010) by the Fondazione Fotografia of the Fondazione Cassa di Risparmio di Modena; he will also hold a workshop together with fellow artist Calin Dan next March, part of a series of workshop promoted by the same Foundation.

Iosif Király, Reconstruction, Mogosoaia, Lenin, Groza 2a, 2006

"Iosif Király (1957), residente a Bucarest, è un artista che lavora con la fotografia. Il suo lavoro è principalmente dedicato all'esplorazione dei rapporti tra percezione, tempo e memoria."

L'artista stesso non poteva davvero riassumere meglio la grande quantità di immagini disseminate nelle sue diverse serie, dove la tensione tra afferrare la realtà davanti agli occhi e il bisogno di interrogare il nostro stesso sguardo sulle cose è ovunque palpabile. Király sembra muoversi in un presente inseguito dal proprio passato, un presente da reinquadrare, ricostruire e interpretare costantemente, prima che sparisca di nuovo e diventi altra cosa, ancora una volta.

Il suo lavoro è incluso nella mostra Storia, Memoria, Identità. Fotografia Contemporanea dell'Est Europa (dal 13 dicembre 2009 al 14 marzo 2010), della Fondazione Fotografia presso la Fondazione Cassa di Risparmio di Modena; Király terrà anche un workshop con l'artista Calin Dan il prossimo marzo, all'interno di una serie di laboratori promossi dalla stessa Fondazione.

Iosif Király, The Kiraly Family, 1988

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Christmas gifts

The Becher Box © beierle + keijser

A few days ago I made myself a present (enriched by other goodies I will shortly illustrate you): I purchased a copy of the Becher Box by Norman Beierle & Hester Keijser (most of you will know them, have already heard about the box and know their awesome blog Mrs Deane), a set of twenty 13x17 cm (approx. 5x7 inch) dig­i­tal C-prints on Fuji DP II Glossy Pearl Paper from their Joghurt­becher series, where the Dutch duo remixes the Becher typologies in the funniest possible way.

Hester was so nice that she added a copy of their book Hier gebeurt nooit wat/Nothing ever happens here, basically their own reinterpretation of Joel Sternfeld's On This Site: twenty images depicting the sites where twenty sto­ries told by the res­i­dents of the town of Leeuwarder took place. The images are elegant low key urban landscapes, and the book is a delicious little object, from the cover (and the backcover with a sketchy groundglass) to the choice of paper and the sweet saddle-stitch binding.

Last but not least, Hester made me another surprise by shipping me the six posters collecting the portraits from their Mars 050 project, hilarious and yet sophisticated portraits showing exactly that kind of irony that I, as a glossy son of the Mediterranean sea, would call 'the Northern humour'.

Nothing nicer than blatantly promote the work made by friends: do I get something in return? Of course not, you suspicious misanthropes, it is simply really good stuff.

Front cover of Hier gebeurt nooit wat/Noth­ing ever hap­pens here © beierle + keijser

Alcuni giorni fa mi sono fatto un regalo (arricchito da alcune sorprese che vi illustrerò): ho acquistato una copia della Becher Box di Norman Beierle & Hester Keijser (molti di voi già conosceranno il loro lavoro come del resto il loro splendido blog Mrs Deane), un set di venti immagini 13x17 cm su carta Fuji DP II Glossy Pearl dalla loro serie Jogurtbecher, dove il duo olandese rilegge le tipologie dei coniugi Becher nel modo più buffo possibile.

Hester è stata così generosa da aggiungere una copia del loro libro Hier gebeurt nooit wat/Nothing ever happens here, la loro versione intima di On this Site di Joel Sternfeld, venti immagini di luoghi accompagnate da venti storie raccolte tra i residenti della città di Leeuwarder. Le immagini sono eleganti paesaggi urbani sottovoce, il llibro è un piccolo oggetto delizioso, dalla copertina (o il retro, con il disegno abbozzato di un vetro smerigliato) alla scelta della carta o all'artigianale rilegatura a filo.

Per ultimo, sono stato anche omaggiato dei sei poster che raccolgono i ritratti dal progetto Mars 050, immagini sofisticate e comiche al tempo stesso che esprimono perfettamente quello che da mediterraneo stereotipato definirei 'l'ironia delle genti del Nord'.

Niente di più piacevole che promuovere il lavoro degli amici: ci ricavo qualcosa? Certo che no, malpensanti, si tratta soltanto di riconoscere il bello fatto dagli altri.

Mars-050 poster project © beierle + keijser

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From a certain distance

Tancredi Mangano, Da una certa distanza/From a certain distance, 2009

Back after a week of forced leave from the blog, I'm here again with one more example of Italian photography delved into a research of something that goes beyond the mere relevance of a subject, or the use of stunning viusal effects: Tancredi Mangano is one of those photographic artists who chose the most difficult path, rarifying the content of his images, leaving only what's necessary, venturing in a territory where the eye of the beholder is not captured or shocked, but gently invited to stay, to let the image breathe. Photography that relies on the patience of who's watching, trusting in eyes that will give the images the time to disclose themselves, photographs living of a delicate balance, always on the verge of a great achievement or of a great failure.

Tancredi Mangano, Inabitanti, 2003-2005

Di ritorno dopo una settimana di assenza forzata, ecco un altro esempio di fotografia italiana dedita alla ricerca di qualcosa che vada davvero al di là della rilevanza del soggetto trattato o dell'uso di forti effetti visivi: Tancredi Mangano è uno di quegli artisti fotografici che hanno scelto la strada più difficile, inseguendo una rarefazione del contenuto delle proprie immagini, lasciando solo ciò che è necessario, avventurandosi in un territorio dove l'occhio di chi guarda non viene catturato o scioccato, ma solo invitato a rimanere, a lasciare che l'immagine possa respirare.
È una fotografia che si nutre ddell'attenzione di chi guarda, confidando in occhi che diano tempo alle immagini di schiudersi, fotografie dal delicato equilibrio, sempre sull'orlo di una grande riuscita o di un grande fallimento.

Tancredi Mangano, Eden, 2005-2007

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Holy pieces

Nicola Civiero, piece #8, from L'inconciliabilità del pensiero di Dio con il fatto quotidiano/The irreconcilability of the concept of God with the daily act, 2009

More on religion, more on Italy (fifth photographer in a row, unprecedented): altar pieces and sacred icons are turned upside down in Nicola Civiero's work, the closest thing to Jerry N. Uelsmann
I have ever seen coming from this country, but with that mix of sarcasm, will to desecrate and genuine torment that only the land hosting Vatican City can express.

Nicola Civiero, Non mi lasceranno andare/The Seven, 2008

Di nuovo sul tema della religione e sull'Italia (quinto fotografo di seguito, mai accaduto): pale d'altare e icone sacre vengono stravolte dal lavoro di Nicola Civiero, la cosa più vicina a Jerry N. Uelsmann che abbia mai visto venire da queste terre, ma con quel tormento misto a sarcasmo e dissacrazione che solo il paese che ospita Città del Vaticano può offrire.

Nicola Civiero, Il peso di Dio/God's weight, 2006

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Holy lines

Gianni Ferrero Merlino, DOM k1, 2009

We often say that one of the problems we have here in Italy is that our history is paved with centuries of such amazing art (which is still everywhere around us) that it becomes hard to feel creation as something projected into the future: enough reason to appreciate the DOM series by Gianni Ferrero Merlino, a fascinating visual reinterpretation of some of the temples of the Catholic religion, pinnacles of authority and of pure artistic majesty at the same time.

Gianni Ferrero Merlino, DOM k3, 2009

Si dice spesso che uno dei problemi che abbiamo qui in Italia è che la nostra storia è così piena di opere d'arte insuperabili che a volte diventa difficile pensare l'atto creativo come qualcosa di proiettato nel futuro: ragion sufficiente per apprezzare le serie dei DOM di Gianni Ferrero Merlino, affascinanti reinterpretazioni visive di alcuni dei templi della religione cattolica, espressione al tempo stesso di un'autorità assoluta e di pura maestosità artistica.

Gianni Ferrero Merlino, DOM f6, 2008

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A geography of questions

Vincenzo Castella, #10254 East Jerusalem, 2009

"I have the feeling that it is not the people who change the cities, but rather the cities themselves manage to communicate and to look like each other more and more. [...]

Cities evolve conforming their basic traits without any real human intervention, changing their system of relationships, tresholds, divisions and similarities."

(My own translation)

The photographs of Vincenzo Castella seems to me like an endless effort to contain a dispersion, a scattering of shapes and spaces, a request to the eye of the beholder to explore and to try to understand a logic that more and more is becoming alien to ourselves.
His online presence is as scattered as his photographic views: find more images here, here and also here, read a dissertation about his work (Italian only, sorry), and to have a better idea of what he really does you might want to take a look at his latest book Siti 98-08, or at least have a glimpse of the artist at work.

Vincenzo Castella, Malpensa, Milano, 2002

"Sospetto che non siano tanto le persone che cambiano le città, ma che esse stesse quasi automaticamente riescano a comunicare tra loro e ad assomigliarsi sempre di più. [...]

Le città cambiano uniformando i loro aspetti senza l’intervento degli uomini, cambiando il sistema di relazioni, la soglia, la divisione, la somiglianza."

Le fotografie di Vincenzo Castella sembrano esprimere un perenne sforzo di contenere una dispersione, una frammentazione di forme e luoghi, come fossero una richiesta fatta all'occhio di chi guarda di esplorare e di provare a comprendere una logica che sempre di più appare aliena a noi stessi.
La sua presenza on line è frammentaria come le sue vedute, potete trovare altre immagini qui, qui e anche qui, leggere una dissertazione sul suo lavoro oppure provare a farvi un'idea migliore della sua ricerca con il suo ultimo libro, Siti 98-08, o almeno dare un'occhiata all'artista al lavoro.

Vincenzo Castella, #4 Napoli, 2006

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In the darkness of a space

Luca Andreoni and Antonio Fortugno, Tunnel 134, 2005

When you try to explore a photographic scene mostly through the Internet, what can happen is that by pure chance you fall into somebody you never heard of, born and living in your own country and who has been working solidly for the last 15 years at least. It is always a pleasant surprise to find new Italian photographers so rigorous, so into their own personal research and free from frills and catchy imagery as Luca Andreoni and his former photographic partner Antonio Fortugno prove to be with their investigations of the experience of places.

The subject is not inside the photograph, the subject is the photograph.

Luca Andreoni, Orridi 193, 2007

Quando si cerca di esplorare una scena fotografica principalmente attraverso Internet, quello che può accadere è di imbattersi in autori mai sentiti prima, nati e che lavorano nel proprio paese e che magari hanno alle spalle già almeno quindici anni di produzione di alto livello.
È sempre un piacere scoprire nuovi fotografi italiani così rigorosi e così dediti alla loro ricerca personale, senza strizzate d'occhio e effetti a buon mercato, come Luca Andreoni e Antonio Fortugno esprimono con le loro indagini sull'esperienza dei luoghi.

Il soggetto non è dentro la fotografia, il soggetto è la fotografia.

Luca Andreoni, Crepacci 143, 2008

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Winter Stories

Winter Stories © Paolo Ventura

I just had a look at Conscientious' Best Photo Books of 2009 and I felt I had to add my own pick, especially because I think it shows perfectly how "there is no simple way to describe what contemporary photography is", as Jörg M. Colberg remarks at the end of his personal list: my choice would surely include Paolo Ventura's Winter Stories, a magical tale with no words made of sad clowns, sword eaters, dusty bookshops and all the things hiding inside the sound of an old grammophon.
'All power to the imagination', they used to say: Winter Stories is among the finest examples of how this can be expressed in photography.

Winter Stories © Paolo Ventura

Ho appena dato un'occhiata ai Best Photo Books of 2009 di Conscientious e ho pensato di suggerire un nome in più, soprattutto perchè dimostra perfettamente come "non c'è un modo semplice di descrivere che cosa sia la fotografia contemporanea", come Jörg M. Colberg scrive a chiusura della sua lista:
la mia selezione comprenderebbe sicuramente Winter Stories di Paolo Ventura, un racconto magico senza parole, fatto di clown malinconici, mangiatori di spade, librerie polverose e tutte le altre cose che si nascondono nel suono di un vecchio grammofono.
'L'immaginazione al potere', dicevano un tempo: Winter Stories è tra gli esempi migliori di come questo possa realizzarsi in fotografia.

Winter Stories © Paolo Ventura

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Doomsday Machines

Martin Miller, LGM-118 "Peacekeeper" (MX Missile) ICBM (10ea 300-kT W87 Warheads) 1986

Take a trip back to WWII and then along the decades of the Cold War with the amazing works of Martin Miller, 70 years of history seen through the weaponry and technology built on the dream and the nightmare of The Bomb.

Found in the latest issue of 100 Eyes Magazine.

Martin Miller, Experimental Nuclear Propulsion Reactor HTRE-2 for Strategic Bombers 1957

Fate un viaggio indietro nel tempo, fino alla Seconda Guerra Mondiale e poi lungo i decenni della Guerra Fredda con i lavori di Martin Miller, 70 anni di storia rivisitati attraverso la tecnologia e gli armamenti costruiti attorno al sogno e all'incubo dell'Arma Finale.

Trovato nell'ultimo numero di 100 Eyes Magazine.

Martin Miller, Mk-6 Atomic Bomb (160 kT) 1951

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Manners

Karen Knorr, The Kings Reception, from Fables, 2003-2008

The elite world, its palaces and its luxurious interiors seem to dominate Karen Knorr's photography. Culture, wealth, social status are all different declinations of the same representation of power that crosses all her series, where a luscious imagery conceals a subtle baring of the ridiculousness of the social postures of the ruling classes. Spanning over more than twenty years so far, her work initally showed staged daily life moments of the upper class, but slowly took the human figures away from the scene, replacing them with animals elegantly inhabiting grand halls, corridors and salons.
Funnily enough, one of her first photographic series was called (and was about) Punks.

Karen Knorr, The Analysis of Beauty, from Connoisseurs, 1986-1988

Il mondo delle élite, i suoi palazzi e i suoi lussosi interni dominano l'opera di Karen Knorr. La cultura, la ricchezza e lo status sociale sono tutte differenti declinazioni della stessa rappresentazione del potere, dove un immaginario sontuoso nasconde una sottile messa a nudo del ridicolo insito negli abiti sociali delle classi dominanti.
Coprendo un arco di più di vent'anni, i suoi lavori iniizialmente mostravano messe in scena di momenti di vita quotidiana dell'alta società, ma poi lentamente le figure umane sono scomparse per lasciar posto a animali che occupano con eleganza grandi sale, corridoi e salotti.
Curioso notare che una delle sue prime serie fotografiche era intitolata (e parlava di) Punks.

Karen Knorr, The Recapture of the Territory is no more than an Appetiser to the big Match, from Gentlemen, 1981-1983

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Sea of land

© Taiji Matsue

Aerial views studying the landscape below, whether it is made of layers of buildings or shapes of the land. When eyes try to analyse the surface of the earth as they do in Taiji Matsue's photographs, then maybe the sky and the horizon can really be a distraction, and so the only thing is to exclude them from our view, as he does, all the time.

© Taiji Matsue

Vedute aree che studiano il paesaggio sottostante, che sia fatto di strati di edifici oppure di forme della terra. Quando si vuole analizzare la superficie della Terra come Taiji Matsue fa con le sue fotografie allora il cielo, l'orizzonte possono davvero distrarre; e quindi non resta che escluderli dalla nostra visuale, come lui fa, ogni volta.

© Taiji Matsue

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Sediments

Shai Kremer, Shvil Tishtush alongside the Separation Fence, Etz Efrayim Settlement, 2004

One more find from Paris Photo (they will keep coming, but I'll stop mentioning the source from now on), Israeli photographer Shai Kremer, whose series Infected Landscape and Desert follow the traces of all the past and present conflicts spread all over his native land.

"The scars concealed in the landscape correspond to the wounds in the collective unconscious of the country. The landscape, infected with loaded sediments of the ongoing conflict, becomes a platform for discussion."

Kremer's own words beat any other possible introduction to his images, still I want to remark how these last years have given us an increasing number of photographic works that faced social issues by showing exactly the sediments of the events on the landscape of nations, sediments of the consequences of the action of human beings, whether it is destruction, new construction, settlements, or whatever else conflicts can produce.

There was a time when photography was way more devoted to grasp these kind of events as they were actually taking place, seizing the moment; but way before then, there was another time when photography could only depict the aftermath of battles, or show wide views in the distance, summing up in a few images what was later shown in thousands of photographs and hours of TV footage.

So, it is always a pleasure to give a warm welcome back to Roger Fenton.

Shai Kremer, Radar foundations Remains of a military base on top of Mount Meron Nature Reserve, 2007

Un'altra scoperta da Paris Photo (ce ne saranno altre, ma d'ora in poi non citerò più la fonte), Shai Kremer, fotografo israeliano i cui lavori Infected Landscape e Desert seguono le tracce dei conflitti passati e presenti lungo il territorio del suo paese.

"Le cicatrici del paesaggio corrispondono alle ferite nell'inconscio collettivo della nazione. La terra, infetta dai depositi del conflitto in corso, diventa una piattaforma per avviare una discussione."

Inutile aggiungere altro alle parole con cui Kremer stesso introduce le sue immagini; penso soltanto a come negli ultimi anni abbiamo visto sempre più lavori che affrontano temi di attualità proprio mostrando il depositarsi degli eventi sul territorio, che si tratti di distruzione, di ricostruzione, di nuovi insediamenti umani e di tutto quello che i conflitti portano con sé.

Shai Kremer, from Desert

C'è stato un tempo in cui la fotografia era molto più dedita a afferrare questi eventi mentre accadevano, cogliendo l'attimo; ma molto prima ancora, c'è stata un'epoca in cui l'immagine fotografica poteva solo raccontare ciò che restava di una battaglia, oppure mostrare ampie vedute da una certa distanza, dovendo riassumere in poche immagini ciò che in seguito è stato raccontato con migliaia e migliaia di fotografie e con ore di immagini televisive.

Ragion per cui è sempre un piacere poter dare il bentornato a Roger Fenton.

Roger Fenton, The Valley of the Shadow of Death 1855 © Library of Congress, Print & Photographs Division

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Light trails

"What other wheels can we invent, either indi­vid­u­ally or col­lec­tively, to keep the blog world turn­ing? Or should a blog be like the eter­nal 19th cen­tury mis­tress, deeply loved per­haps, but for­ever kept on the side, com­fort­ably set up in her own salon and main­tained with what­ever resources we can muster up for how­ever long we can afford her?"

A difficult question posed in the most charming of ways by Hester from Mrs Deane in her recap on our European bloggers' meeting in Paris last week (you might want to read further insights by other participants here and here).

Do I have an answer? I don't think so. Do I have other questions? Probably. I still feel like this sweet and yet time-consuming activity of running a blog has yet to show me where it can go, how it can evolve, what potential it holds. It allows me to always discover new photography, allows me to meet new people, broaden some kind of network that did not exist for me before. But it still feels like a beginning, as if I have not yet developed a mature form of communication through my beloved Hippolyte.


It has borne fruits for me in the past, and that makes me think it is mostly a matter of carrying on. Hence the reason I still cannot imagine ways of getting some kind of remuneration from it, which is why updating the blog can sometimes feel like something between a duty and a slight burden. Hester is right when she says that "oftentimes money changes hands through our blogs, some­times directly by gen­er­at­ing sales or assign­ments for peo­ple, but mostly in much more dif­fuse ways", and I started noticing that too, not necessarily through my own activity. I remember somebody telling me some time ago that I should spread the word about my blog in the right places, before someone else shows up with a similar product, snatching the supposed future spotlight instead of me. What would happen then? Would I have lost my chance, is that what is all about? One place to grab?
I remember I started this website for the simple reason I was a frequent reader of several photographic blogs and I couldn't understand why there wasn't an Italian equivalent of those blogs (and I've been thoroughly looking for them on the Italian web), so I thought 'I'll do it'. Some have joined me after some time, but still I have the feeling there could be more, or maybe there are more and I'm simply not aware of them.


The reason I write all this is because I think there is also a geographical issue, meaning where are your readers, which other forms of connection you can have with them outside occasional e-mails with some, and stats about the visits, telling you which country visits you most, which ones are growing, which ones will never come. But this geography then has to confront itself with the real one, and this is where many things change depending on where you live.

I don't want to sound like the usual Italian complaining about their own situation, but for sure we don't have exhibitions opening every week like elsewhere, we don't have tons of online or paper magazines, we don't have an abundance of public foundations devoted to photography, we don't have easy access to a network for our indulgence, for fun or for whichever goal we have.

So I might be kind of torn between these two worlds, from one side maybe I should be doing more to grab that place somebody suggested is hiding somewhere in my homeland, while from the other I should really throw myself in the outside world (and its growing visits to this blog) and explore a broader environment, but face myself with more competition.

Like other times after I got back from a photographic feast, I feel a bit numb and need to regroup a little bit: if these feelings were images, they would be probably close to Ebbe Stub Wittrup's Night Sky, shiny paths lost in blackness.


All images from Night Sky © Ebbe Stub Wittrup

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89 galleries, 13 publishing houses, 23 countries...

Me trying to turn myself into an Audrey Corregan photograph



I was really happy to find out that my mentor too believed in the importance of mutual exchange and collaboration, as the above photograph on display at Paris Photo proves (forgive me for not remembering which gallery was showing it). This belief was also probably what brought a group of European-based bloggers to meet in an elegant (and maybe a little expensive - let's be honest, way too expensive) bar, in front of the Carrousel du Louvre - the place where the fair took place last week end - after plunging through hundreds of works of photographic art and their often unpredictable prices. The meeting was another nice chance to meet in person, share thoughts, imagine future cooperations, explain our own respective method of work. Or, as some of us said, pleasantly discover that we are not alone in our blogging and internet madness, that there are many others lost in some kind of endless research of something worth writing about.

It is then for me a joyful duty to list here all the people I met and thank them again for the time we spent together, hoping we will soon have another chance:

Laurence Vecten from LOZ, promoter of the meeting (thanks again!);

Hester Keijser, none other than Mrs Deane, longtime penpal;

Laure Troussière, from Zoum Zoum;

Marc Feustel, Eye Curious;

Diederick Meijer, the mind behind The Black Snapper;

Nicholas Calcott, On Shadow;

Annelies Kuiper from dutch-doc;

Corinne Vionnet, photographer;

Chiara Capodici and Fiorenza Pinna from 3/3, friends and fellow citizens, actually almost neighbours.

My notes with names of interesting photographers seen at Paris Photo and never saw or heard about before

Having said that, I spare you my indulgent talk on Burtyinsky, Roberts, Gursky, Sugimoto, Wolf, Vitali, all the incredibly expensive small prints of Robert Frank or whatever else I might have seen, and just mention the two most unexpected surprises of the Paris fair:

the first one is a pornographic photograph by Eugène Atget, something I would have never expected by our favourite photographic wanderer (from the same gallery of the photograph by Bayard and Ziegler, apologize again). I leave any comment aside and just share with you this fascinating image and the text accompanying it (hoping the gallerist will not mind about that).



The second surprise falls under an exceptional serendipity: the gallery Lumière des Roses from Montreuil had a previously unknown portrait of Hippolyte Bayard himself. Aside from the fact that their note described him as "the inventor of the photographic image", they celebrated the discovery of this image with a reproduction of the "Self-portrait as a Drowned Man"... on apples. I leave the explanation of this hommage to their own words:

"It is said that Hippolyte Bayard was first inspired in his photographic research by a story about peaches. Bayard's father was a justice of the peace who lived in the country and used to grow peaches in his garden. Every year he gave baskets of fruit he marked with his name to his friends. Just as the fruit was ripening, but before it turned out bright red, Bayard's father cut his initials onto paper that he stuck onto the peaches, before leaving them in the sun to ripen. Once the paper was taken off again the initials showed up white on the reddened fruit. This paternal pastime must have been the influence for the young Hippolyte to carry out his own effects of sunlight on coloured strips of paper."

Since we are in November, Philippe and Marion Jacquier, the two owners of this gallery devoted to "amateurs, anonymes et 'autres images' photographies des 19è et 20è siècles" chose to print the first self-portrait of the history of photography on a more autumn-like fruit. Having seen my face when I told them the name of this blog and left them my e-mail, they kindly gave me an apple as a present; if I keep it in the fridge it can last up to five months, Marion said, but she also told me that at some point I should eat it, after all it is an apple.

My own photographic apple

PS: causa carenza di tempo e necessità di pubblicare in tempi brevi, questo post è soltanto in inglese. Chiedo venia ai lettori italiani, non me ne vogliate.

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Gallery hopping

Paris Photo, Ed. 2001

Sarò a Parigi per Paris Photo da domani e per tutto il fine settimana, procurandomi mal di testa per le troppe cose da vedere e per incontrare un po' di amici e magari incontrarne di nuovi.
Se qualcuno di voi che legge ci sarà, spero ci sarà modo di conoscerci!

I'll be in la Ville Lumière for Paris Photo from tomorrow and for the whole week-end, getting myself a headache strolling around after too many things to see, meeting some friends and hopefully making new ones.
If anybody of you reading will be around, I hope there will be the chance to say hi!

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