Santa Rosa

Allegra Martin

Daniele Brescia, Fuori Tutti

Alice Caracciolo, Ordine Periferico

Gloria Casto, In attesa

Mariateresa Contaldo

Domenico Doronzo

Annalisa Lazoi

Marianna Spadone

Santa Rosa

Nel 2014 Bitume ha ospitato un workshop con Allegra Martin, volto a fornire un primo sguardo sul quartiere Santa Rosa, dove sorge Manifatture Knos. Dopo un processo di conversazioni e riflessioni fra Martin e i partecipanti al workshop, presentiamo oggi alcuni risultati. La mostra è a cura di Allegra Martin e Positivo Diretto.

Indoor Exhibition
Manifatture Knos

In 2014 Bitume developed a workshop with Allegra Martin, aimed at providing a first look on the Santa Rosa district, where Manifatture Knos is located. Today we present the results deriving from conversations and reflections between Martin and the participants of the workshop. The exhibition is co–curated by Allegra Martin and Positivo Diretto.

Bitume Photobook

Bitume Photobook Book Launch
06.09, 19.00—23.00 • Manifatture Knos

1999 
Iacopo Pasqui
Presentato dall’autore e dall’editore Tommaso Parrillo (Witty Kiwi Books)

Formato 210×250 mm
Copertina morbida
112 pagine
52 fotografie a colori
stampa offset

Witty Kiwi Books, 2016
Prima edizione 500 copie
Edizione speciale copie 1-25

The book will be presented by the author and the publisher Tommaso Parrillo (Witty Kiwi Books)

Size 210×250 mm
Softcover
112 pages
52 color photographs
offset printing

Witty Kiwi Books, 2016
First edition: 500 copies
Special edition 1-25 copies


Tara, il fiume dei miracoli
Collettivo DAV

Presentato ufficialmente al Bitume Photofest. Per l’occasione saranno presenti gli autori e Irene Alison (DER*LAB), che ha curato l’editing del volume

Formato 185×240 mm
Copertina cartonata rivestita
brossura filo refe
112 pagine
carta Gardapat 13 Klassica 150 gr
carta Fizz 170 gr

The book will be officially presented at the festival, with the participation of the authors and the editor Irene Alison (DER*LAB)

Size 185×240 mm
Hardcover with dust cover
stitching binding
112 pages
paper: Gardapat 13 Klassica 150 gr, Fizz 170 gr

Tessuti Toniù
Francesca Semerano

Il libro prodotto artigianalmente verrà presentato dall’autrice e da DER*LAB (Irene Alison, Agnese Capalti)

Curato da DER*LAB
Progetto Irene Alison
Art direction Alessandra Pasquarelli
Produzione Antonella Sava
Comunicazione Agnese Capalti

Formato 165×230 mm
Copertina cartonata
128 pagine
Prima edizione 100 copie numerate e autografate

The handmade book will be presented by the author and DER*LAB (Irene Alison, Agnese Capalti)

Curated by DER*LAB
Book project Irene Alison
Art direction Alessandra Pasquarelli
Production Antonella Sava
Communication Agnese Capalti

Size 165×230 mm
Cardboard cover
128 pages
First edition of 100 numbered and signed


Still Hunt
Jan Stradtmann

L’edizione in serie limitata verrà presentata dall’autore e dai designer Kaspar Hauser

Formato 240×310 mm
32 pagine
6 fotografie a colori
28 fotografie monocromo
Design Kaspar Hauser
1000 copie
autoprodotto

edizione limitata 400 copie numerate e autografate
ogni copia include 1 di 4 stampe su carta Hahnemuehle Fine Art Baryta

The limited edition will be presented by the author and the designers (Kaspar Hauser)

Size 240×310 mm
32 pages
6 colour photographs
28 b/w photographs
Design Kaspar Hauser
1000 copies
self-published

limited edition 400 copies: each copy includes 1 out of 4 prints, signed and numbered
printed on Hahnemuehle Fine Art Baryta

For Birds’ Sake
Cemre Yeşil, Maria Sturm

Simbolo di scisma e confluenza, città transcontinentale, Istanbul è sempre stata fonte di ispirazione per grandi storie. Ma questa non è una storia su Istanbul; è una storia narrata dal punto di osservazione femminile su come un gruppo di uomini dedicano le loro vite a catturare cardellini e verdoni: un misterioso legame ricco di contraddizioni, amore, possesso e piacere; contraddizioni tra maschile e femminile; la carezza femminile a fianco della potenza maschile; custodi che fanno a gara per l’uccellino che canta meglio… E due donne che imparano ad ascoltare e parlare.

Formato 162×225 mm
Copertina rigida con Sovraccoperta in tessuto con zip (ognuna differente)
88 pagine

La Fabrica, 2016
Prima edizione

A symbol of schism and confluence, a transcontinental city, Istanbul has always been the inspiration for great stories. But this is not a story about Istanbul; it is a story from the female vantage point about how a group of men devote their lives to raising goldfinches and greenfinches: a mysterious bond full of contradictions, love, possession and pleasure; the contradictions between the masculine and feminine; the female caress alongside the power of men; caregivers who compete for the bird that sings the best… And two women who learn how to listen and speak.

Size 162×225 mm
Cardboard Cover + Fabric Book Jacket with zip (each different)
88 pages

La Fabrica, 2016
First edition

Bitume Photobook Book Fair
06.09 / 07.09, 19.00—23.00 • Manifatture Knos

Editori / bookstore in esposizione:
Witty Kiwi Books
Avarie Artbooks
LO.FT
Spine Temporary Small Press Bookstore

Porta le tue pubblicazioni, il banchetto te lo diamo noi!

Mercoledì 7, durante la mostra–mercato, troverà spazio:
Anirvacanīya performance di Stefano Urkuma De Santis e Annalisa Colucci

Exhibiting publishers and bookstores:
Witty Kiwi Books
Avarie Artbooks
LO.FT
Spine Temporary Small Press Bookstore

Bring your self-published books, we give you the stand!

On Wednesday, 7th, during the book fair, the Anirvacanīya performance by Stefano Urkuma De Santis and Annalisa Colucci will take place

Maria Sturm & Cemre Yeşil

Maria Sturm

born in Ploiesti (RO), 1985
lives in Germany

Maria received her diploma in Photography and Media from University of Applied Sciences Bielefeld in 2012. Maria has won several prizes including the New York Photo Award 2012 and the DOCfeld Dummy Award Barcelona 2015 with the work “Be Good”. Next to working on personal projects and commissions Maria also worked as a freelance producer for Vice Germany in 2015. She’s currently doing an MFA in Photography at the Rhode Island School of Design and therefore received a Fulbright and a DAAD scholarship, as well as a RISD Fellowship, a Graduate Division Fellowship and a GS grant.

Cemre Yeşil

Turkish photographer based in Istanbul and London. Her BA is in Photography and she holds an MA in Visual Arts from Sabanci University. She is a current practice-based PhD student in London College of Communication. Her work has been exhibited and published internationally. She was nominated for the Paul Huf Award 2014 of Amsterdam Photography Museum FOAM. A selection from her “An/other” series is in Istanbul Modern Museum’s photography collection. Apart from her personal projects, she lectures in Istanbul Bilgi University and Koç University. She is the founder of FiLBooks, a space dedicated to photo books, artist talks and workshops in Karaköy, Istanbul. Cemre is represented by Daire Gallery in Istanbul.

For Birds’ Sake
2015

text by Elena Carluccio

Questa è una storia d’amore ambientata ad Instanbul tra due giovani donne e degli uomini gentili che profumano di tè verde, fuggiti dalle loro vite per tutta la vita. La cosmopolita capitale turca è da sempre interessata a ricevere grosse migrazioni di uccelli che vengono accuditi in alcuni centri specializzati, attraverso impegnative attenzioni giornaliere che oggi rischiano di essere smantellati. Questi uomini costruiscono gabbie, curano gli alberi su cui cresceranno i nidi, registrano i cinguettii dei cardellini e li allevano, notte e giorno, con un misto di meditazione e dipendenza. La collaborazione di Sturm e Yesil accarezza le debolezze e la forza di questi “birdmen”, studiando con discrezione questo legame misterioso e magico, quest’amore intriso di libertà e di voglia di evasione. Gli uccelli non sono presenti nelle fotografie, ma si avverte il loro canto che al buio è ancora più dolce.

Outdoor installation
Piazza S. Oronzo

This is a love story, set in Istanbul, between two young women and some polite men who smell of green tea and who had escaped from their lives forever. The cosmopolitan Turkish capital has always been an important destination of great bird migrations. These birds are taken in care in many specialized centers through daily demanding treatments, but nowadays these centers are running the risk of being dismantled. These men build cages, take care about trees where nests will grow up, record goldfinches’ twitters and breed them night and day with cogitation and dependency. Sturm and Yesil’s partnership entertains the weaknesses and strengths of these “birdmen”, discreetly studying this love which is imbued both with freedom and longing for escape. Birds are not taken in photos but you can feel their singing which is much sweeter in the dark.

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Marta Zgierska

Marta Zgierska

born in Lublin (PL), 1987
lives in Poland

Marta Zgierska holds MFA in Photography (The Leon Schiller National Film, Television and Theatre School), MA in Theatrology and MA in Journalism. She lives in Warsaw, where she develops her artistic projects. She is interested in trauma studies and a process of withdrawal. Her work was exhibited at Esther Woerdehoff Gallery (Paris, France), Maison de la Photographie (Lille, France), Photokina (Cologne, Germany), Malmo Fotobiennal (Sweden), Fotofestiwal (Lodz, Poland). Her series “Post” has been selected for the Circulation(s) Festival in Paris presenting most interesting young photographers from Europe. In 2015 she was named one of Lens Culture’s Top 50 Emerging Talents. In 2016 she won one of the most prestigious photography awards – Prix HSBC pour la Photographie and also Reminders Photography Stronghold Grant, FotoLeggendo Giovanni Tabo Prize and Kolga Tbilisi Photo Award. In the same year she was nominated for the ING Unseen Talent Award.

Post
2015

text by Andrea Laudisa

L’artista polacca Marta Zgierska attraverso la serie fotografica Post, scrive la storia di un dolore personale, costruendo visivamente la disamina introspettiva di un trauma vissuto sulla propria pelle. Un silenzio e un’inquietudine che celano un cambiamento attraverso la sofferenza. La presenza costante del bianco nelle composizioni, si fa portavoce e deposito di liberazione, gli oggetti, come pensieri fitti dialogano scientemente col passato e l’inevitabile catarsi percepita si mescola all’immediata ricezione immaginifica delle ferite dell’artista, rafforzando la consapevolezza che l’identità di ogni essere umano sia un processo in divenire.

Outdoor installation
piazzetta Chiesa Greca / Whitephotogallery

The Pole artist Marta Zgierska writes the story of a personal sorrow through the photographic series Post, thus visually building an introspective close examination of a traumatic event that the artist experienced. Silence and restlessness hide a change through suffering. The constant presence of white colour in the composition becomes mouthpiece and safekeeping of relief. Things consciously dialogue with the past as if they were deep thoughts. The unavoidable catharsis that one can perceive gets mixed up with the immediate reception of the artist’s pain, thus strengthening the awareness that the identity of every human being is a becoming process.

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Kalpesh Lathigra

Kalpesh Lathigra

born in London (UK), 1971
lives in United Kingdom

After leaving the course in 1994, he was awarded The Independent Newspaper Photographer Traineeship. Kalpesh worked for The Independent as a staff photographer for one year before freelancing for the national newspapers in the UK for 6 years covering news and features. In 2000 , he gave up working for newspapers and made the decision to work on long term projects and magazine and commercial assignments. In the same year he was awarded a 1st Arts prize in the World Press Photo.
In 2003, he embarked on a long term project documenting the lives of Widows in India, receiving The W.Eugene Smith Fellowship and Churchill Fellowship. He is currently is working on a series with Syrian Refugees and his first book “ Lost in the Wilderness” , a body of photographs on the Lakota Sioux and Pine Ridge Reservation was be published in 2015. Kalpesh was a commissioned Artist for the Brighton Photo Biennale co authoring the project “ A Return to Elsewhere”. Kalpesh continues to work for the leading international magazines on documentary and portraiture assignments alongside his personal practice.

Lost in the Wilderness
2007

text by Alessia Venditti

Nel 1970, in Bury My Heart at Wounded Knee, Dee Brown narra della conquista del territorio americano da parte dei coloni bianchi. Scrive in modo lucido, distaccato, schivando l’edificazione letteraria di indolenti ripari a favore dei nativi. Il risultato è una testimonianza storica delle vicende che hanno segnato lo sterminio di intere popolazioni. Nel 2006 Kalpesh Lathigra riceve una copia del libro, intraprendendo, un anno dopo, un viaggio verso Pine Ridge, riserva indiana del Sud Dakota.
L’esperienza catapulta l’autore di Lost in the Wilderness in una comunità di nativi americani tra i quali regna povertà, disoccupazione, alcolismo, violenza e un alto tasso di suicidi.
“In un primo momento ho fotografato molto poco, ho voluto incontrare la gente indigena, vedere e sentire la terra”. Lathigra mette alla prova la propria abilità di connessione con la grande determinazione di questi uomini di preservare le tradizioni, di mantenere viva la lingua Lakota.
Il risultato sono ritratti, luoghi ed espressioni, permeati da grande senso di dignità, da una fierezza che racconta di un esperimento riuscito: “mi hanno trattato con gentilezza […] le mie paure sono state presto sepolte dalla facilità con cui la gente mi ha accettato”.
Sepolte, come i Lakota Sioux da parte dell’esercito degli Stati Uniti d’America nel 1890, nella valle del torrente Wounded Knee.

Outdoor installation
Palazzo dei Celestini

In 1970, Dee Brown illustrates the conquest of the American territory made by white colonisers in Bury My Heart at Wounded Knee. He writes in a clear and detached way, avoiding the building of metaphorical forts in favour of the Native Americans. As a result, the book is a historical record of the events that led to the extermination of entire populations. In 2006, Kalpesh Lathigra received a copy of that book and, after a year, went to Pine Ridge, an Indian reservation in South Dakota.
Thanks to this experience, the author of Lost in the Wilderness was propelled in to a Native American community in which poverty, unemployment, alcoholism, violence and a high suicide rate dominate. “At first, I did not take lots of photos because I really wanted to meet native people, see and sense the earth.” Lathigra tests his ability to connect with these men’s great determination in preserving traditions and keeping alive the Lakota language. The final shots are portraits, places and expressions steeped in a deep sense of dignity and pride which tells about a successful experiment. “I was treated fairly […] I could overcome all my fears since they welcomed me in such an easy way”. My fears were buried, like Lakota Sioux were buried by the USA army in 1890 near Wounded Knee Creek.

Sam Harris

Sam Harris

born in United Kingdom
lives in Australia

Sam Harris is a self-taught photographer. Throughout the 90’s he photographed portraits and sleeve art for numerous recording artists. He also worked as an editorial portrait and features photographer for leading UK publications such as The Sunday Times Magazine, Esquire, Telegraph Magazine and Dazed & Confused. The over corporatization of the music industry during the late 90’s became the catalyst for a big change in direction, both photographic and personal. Sam abandoned his career in London in favour of quality family time, turning his camera inwards and slowing down. After several nomadic years between India and Australia Sam & family settled in the forests of Western Australia.
In 2015 Harris published his acclaimed photo-book ‘The Middle of Somewhere’ which was the recipient of a 2015 Lucie Award and the Australian Photobook of the Year – People’c Choice Award as well as being shortlisted in POYi, Les Rencontres d’Arles Book Award, & GuatePhoto.

The Middle of Somewhere
2015

text by Andrea Laudisa

Perdersi nel mondo per ritrovarsi, potrebbero riassumersi così gli ultimi anni di vita di Sam Harris. Un cammino tanto coraggioso quanto tortuoso quello intrapreso dal fotografo, che ha coinvolto non solo la sua arte ma tutta la sua famiglia; abbandonate le certezze a Londra, la strada percorsa lo ha portato prima in India poi in un villaggio sperduto dell’Australia sud-occidentale dove attualmente vive. Durante questi viaggi Sam Harris si è spogliato delle certezze acquisite negli anni, ha iniziato a contemplare la bellezza degli sbagli, ha trovato la poesia nell’incontro tra gli occhi dei suoi figli e altre culture. Un viaggio identitario il suo, che incastra i tasselli di una bellezza del vivere quotidiano lento, come dissenso alla velocità del mondo.

Outdoor installation
Via Corte dei Mesagnesi

Getting lost in the world in order to find oneself again. This is how the last years of Sam Harris’s life can be summed up, a path full of courage as well as tortuous where his art and his family got dragged into. After the artist had left his certainties in London, his life led him to India first, then into an isolated village in south-west Australia where he now lives. During his journey Sam Harris gave up all the certainties acquired over the years and began to admire the beauty of mistakes. He found poetry where his children’s eyes crossed other cultures. This was his identity journey that entangles the tiles of slow everyday life’s beauty as dissent at the world’s fast flow.

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Adrian Paci

Adrian Paci

born in Scutari (AL), 1969
lives in Italy

Britma
2009

Rear projection video, 5’18”
courtesy the artist and kaufmann repetto, Milano/New York

Britma è una proiezione in piccolo formato in cui la prima sequenza (un frame di pochi secondi) viene dilatato in un lasso di tempo di diversi minuti, rallentato in una quasi completa immobilità. Il bambino, mostrato mentre corre verso lo spettatore, mantiene a prima vista un’espressione impenetrabile che cambia gradualmente in un ineluttabile urlo, echeggiato nel suo volto che lentamente si sfigura.

Urban Layers Exhibition
Palazzo Adorno

Britma is a small format projection in which the first sequence (a frame of just a few seconds) is dilated into several minutes, slowed into almost complete stillness. The child, shown running toward the viewer, maintains at first an impenetrable expression that ever so slightly changes into an unavoidable scream, echoed in his slowly disfiguring face.

Stratis Vogiatzis

Stratis Vogiatzis

born in Chios (GR), 1978
lives in Greece

Narrative Arcs
2016

text by Matteo Balduzzi

Stratis Vogiatzis intende proseguire la propria ricerca personale e approfondire ulteriormente il suo lavoro sull’identità individuale dei migranti, rifiutando la forzata categorizzazione di massa che i media impongono, di fronte alla sconfinatezza e all’urgenza del fenomeno. Attraverso l’utilizzo combinato di più mezzi di comunicazione — in questo caso soprattutto l’immagine fotografica e la parola scritta, ma anche il video e la raccolta di oggetti — l’artista sottolinea l’unicità dell’essere umano, della sua personalità e della sua storia individuale, ricercando un rapporto diretto, empatico sia nei confronti dell’autore che dello spettatore. Il progetto elaborato durante la residenza prende forma attraverso una permanenza nell’isola di Lampedusa e nell’isola di Chios, dove l’artista ha origine. I ritratti realizzati e le testimonianze raccolte, rafforzano così un collegamento simbolico — oltre che esistenziale — tra i due paesi e tra due realtà presenti quotidianamente e in maniera drammatica nelle cronache.

Urban Layers Residency Program
Manifatture Knos

Stratis Vogiatzis intends to continue his own research and to further deepen his work on the individual identity of migrants, refusing the forced mass categorization imposed by media due to the boundlessness and urgency of the phenomenon. Through the combined use of multiple media — in this case mainly photographic images and written words, but also videos and other objects — the artist emphasizes the uniqueness of the human being, his personality and his individual history, seeking a direct, empathetic relationship both with the author and the audience. The project created during the residency takes shape on the island of Lampedusa and the island of Chios, where the artist comes from. Portraits and collected materials reinforce a symbolic — as well as existential — link between the two countries and between two realities which dramatically appear on newspapers on a daily basis.

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Zamir Suleymanov

Zamir Suleymanov

born in Baku (AZ), 1987
lives in Azerbaijan

Offshore
2016

text by Matteo Balduzzi

Il progetto di Zamir Suleymanov affronta il concetto di identità partendo dalla una delle sua più dirette e ufficiali applicazioni, ossia l’immagine fotografica presente nei documenti, la cui continua moltiplicazione e duplicazione, ossessione di controllo da parte delle burocrazie statali, ne causa in realtà la smaterializzazione fino alla scomparsa. In alcuni ritratti provenienti da documenti di identità e sottoposti a numerosi passaggi di fotocopiatura l’artista seleziona l’elemento del volto più mutevole e quindi più legato all’espressione della propria identità, ossia i baffi, simbolo di potere e di supremazia maschile nel suo paese come in molte culture del mediterraneo. Scontornati, prelevati dal contesto originario e riproposto in uno spazio bianco i baffi danno luogo a immagini astratte, che possono sembrare isole.
Possiamo quindi pensare queste immagini come isole vere e proprie, ancora sconosciute, situate lungo le coste del Mar Mediterraneo o anche del Mar Caspio, da dove proviene l’artista. Oppure si può trattare di progetti di isole artificiali e piattaforme, apparati tecnologici per garantire il flusso di gas e petrolio dal Caucaso e Medio Oriente. O si possono infine semplicemente pensare come luoghi immaginari, in una dimensione più utopica e poetica.

Urban Layers Residency Program
Manifatture Knos

The project by Zamir Suleymanov deals with the concept of identity starting from one of its most direct and official applications, i.e. the photographic images contained in documents, whose continuous multiplication and duplication, as a result of the control obsession of public bureaucracies, actually cause their dematerialisation as well as disappearance. The artist selects one of the most variable elements and which is, therefore, most linked to the expression of identity in some portraits contained in ID documents, which have been photocopied many times: moustache, considered in his country as a symbol of power and male supremacy, like in many cultures of the Mediterranean. Cropped, taken from the original context and presented in a white space, moustaches become abstract images, which can seem like islands. We can therefore consider these images as real yet unknown islands, located along the coasts of the Mediterranean or the Caspian Sea, where the artist comes from. Or they might be artificial islands projects and platforms, technological installations to ensure the flow of gas and oil from the Caucasus and the Middle East. Or they might be considered as imaginary places, in a more utopian and poetic dimension.

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Simone Sapienza

Simone Sapienza

born in Catania (IT), 1990
lives in United Kingdom

The Refugee’s Guide to Sicily
2016

text by Matteo Balduzzi

La Sicilia costituisce oggi uno dei punti principali di immigrazione nel Mediterraneo. Le guerre civili e l’insostenibilità delle condizioni politiche ed economiche costringono gli abitanti dei paesi africani e del Medio Oriente a fuggire dal loro luogo di origine lasciando tutto tranne la propria identità. Il progetto di Simone Sapienza si ispira al manuale che l’esercito degli Stati Uniti ha distribuito ai 450.000 uomini che componevano la cosiddetta Operazione Husky, sbarcati in Sicilia nel luglio 1943 per contribuire alla liberazione dell’Italia dal fascismo. Queste guide includono informazioni di vario genere: geografia e morfologia della regione, statistiche sulle città principali, informazioni sulle reti dei trasporti e dell’energia, ma descrivono anche i costumi e le abitudini della popolazione, offrendo in ultima analisi l’immagine di una Sicilia esotica e stereotipata. La guida, illustrata con le fotografie di Simone Sapienza e da lui ripensata per i rifugiati di oggi, se da un lato si rivolge ai migranti, anche simbolicamente, come strumento di aiuto e accoglienza, dall’altro si rivolge agli abitanti e misura in maniera critica i cambiamenti economici, sociali e culturali a 70 anni di distanza.

Urban Layers Residency Program
Manifatture Knos

Sicily is one of the main destinations of the immigration phenomenon in the Mediterranean. Civil wars and the unsustainability of political and economic conditions are forcing the inhabitants of African countries and of the Middle East to flee their homes leaving everything behind except their identity. The project by Simone Sapienza is inspired to the manual that the US Army distributed to 450.000 men who were involved in the so-called Operation Husky and landed in Sicily in July 1943 to contribute to the liberation from fascism. These guides include information of various kind: geography and morphology of the region, statistics on major cities, information on transport and energy networks, but they also describe customs and habits of the population, offering an exotic and stereotypical image of Sicily. The guide, illustrated with photographs by Simone Sapienza, has been redesigned by him for today’s refugees and if it is intended, on the one hand, even symbolically, as a help and reception tool for migrants, on the other hand, it is addressed to residents and critically measures the economic, social and cultural changes occurred in the last 70 years.

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