Fabrizio Vatieri

img {margin-bottom: 20px !important}
.testo-1, .testo-2, .testo-3, .testo-4 { }
.eng {font-weight: normal !important;}
.pagina a { color: #fff; border: none !important; }
.pagina a:hover { color: #000; border: none !important; }

Fabrizio Vatieri

born in Naples (IT), 1982
lives in Italy

Fabrizio Vatieri was born in Naples in 1982 and he is currently based in Milan. He bumped into photography while studying as an Architect. His work is an investigation on the identity that places hold, and on the relationship between photographed image and imagined reality. He is co–funder of Pelagica, curatorial and research project on the Mediterranean Scenario. He is curator and artist in Exposed Project, an art-oriented platform investigating urban and social transformations in Milan.

Mediterranean Drama
2012—2016

text by Gioia Perrone

Nel nero profondo c’è una superficie intangibile dove si posa e si specchia una piramide. “Egitto”, c’è scritto sopra uno dei suoi lati, se quella parola non ci fosse non sbaglierei di certo ad aggrapparmi all’uncino del senso e scandire parole come: Titanic, Iceberg, Naufragio, Novecento. Tutto questo si immerge subito in un futuro nostro fatto di acqua dove non si tocca, di naufragi quotidiani, di fondali troppo alti e distanze fisiche e mentali troppo insormontabili a segnare l’attuale Mediterraneo. Un Mediterraneo-solido geometrico nel nero, come perso nel Cosmo, senza tempo e senza direzione.
Ho anche io una statuina così, nera e appuntita sullo scaffale di casa, vecchio ricordo di un classico viaggio in famiglia con giro sul cammello. L’Egitto e il suo nero, cosmesi e mistero, manto oscuro di tortura e non emerso, Egitto multiplo e intercettato nell’etere dal cinema e dagli alieni, acqua splendente di fiume che si perde nei millenni.
Ma non c’è solo l’Egitto in questo complesso progetto di Vatieri che inizia nel 2012 e affronta un viaggio nel Mediterraneo occidentale. In questa ricerca, protesa a limare il magma immaginifico dal grand­-tour alle migrazioni, dal colonialismo al turismo, emergono misteriche forme e l’idea di una certa dragon city free gems impossibilità a restituirne, alla fine, un unico nuovo ritratto.

Call for Projects 2016
Manifatture Knos

A pyramid stands out on a pitch-black background, its reflection is mirrored by the intangible surface at its basis. “Egypt” is written on one of its sides, without that word I would not be wrong to cling on to my senses and articulate words such as: Titanic, Iceberg, Shipwreck, Twentieth Century. All of this immediately dives deep in our future, made of deep water, daily shipwrecks, shallow waters and insurmountable – physical and mental – distances, which mark today’s Mediterranean. This sea, so solid and geometrical in a black background, as if lost in the Cosmos, without time nor direction.
I have also such a little statue, black and pointy, on a shelf home. It is a memory of a typical family trip, with camel rides. Egypt and its black, cosmetic change and mystery, dark mantle of torture and hidden violence, the manifold country intercepted ether by the film industry and by aliens, the country that flows like a shimmering river across the millennia.
The complex project of Vatieri, however, does not end with Egypt. His project started in 2012 and deals with a journey in the western Mediterranean area. During this journey he tries to give shape to the imaginative magma, from grand-tours to migrations, from colonialism to tourism, where finally mystery forms and the idea of the impossibility to give a unique new portrait of the area emerge.

pics

pics1

pics2

pics9

Ekaterina Vasilyeva

img {margin-bottom: 20px !important}
.testo-1, .testo-2, .testo-3, .testo-4 { }
.eng {font-weight: normal !important;}
.pagina a { color: #fff; border: none !important; }
.pagina a:hover { color: #000; border: none !important; }

Ekaterina Vasilyeva

born in Sankt-Peterburg (RUS), 1977
lives in Russian Federation

Ekaterina Vasilyeva is an independent photographer, working at the intersection of the genre, documentary and art photography. She has been published in several online magazines : FStop, Fotografia Magazine, Revista OLD, Square Space Magazine, Bleek magazine, Phosmag magazine, Private, Dodho Magazine, Mud Season, Modern Poetry Review, Tonelit, LensCulture, L’oeil de la Photographie, Leica, Feature shoot, Deep sleep, Blur magazine. She studied Photojournalism with Anatoly Maltsev and Tatiana Plotnikova. She took part in workshops with Arja Hyytiainen (“Personal photography: from diary to fantasy”) and Morten Andersen (“Photographs, projects, books”) in 2011—2012. She exposed in several solo and collective exhibitions in St. Petersburg and other cities.

Road to Petergof
2015—2016

text by Elena Carluccio

Tornare a casa dopo due anni, intraprendere un utopistico viaggio su una strada centenaria lunga trentadue chilometri che separa San Pietroburgo da Petergof: ritrovare la stessa neve ma di un bianco diverso e i tramonti meno rosa. Osservare le rughe della gente e riscoprirsi straniera a casa propria. Partire per prendersi una lunga pausa dai luoghi familiari, dai percorsi battuti di una Russia evanescente e tornare per guardarli con occhi nuovi. Scavare negli strati soprammessi di una quotidianità dimenticata, ma tutta da riscoprire per ritrovare se stessi. La Vasilyeva diventa in questo viaggio in casa propria un’archeologa visiva che scandaglia il passato nascosto della sua Russia rurale per ricostruire i pezzi della sua identità. “Reduce così saggio, così esperto, avrai capito che vuol dire un’Itaca” diceva Costantino Kavafis, e forse è tutto già qui, in questa poesia, il senso della vita. Perché il vero viaggio è il ritorno.

Call for Projects 2016
Manifatture Knos

Imagine coming back home after two years, embarking on a utopian journey on a centenary, thirty-two kilometres long road separating St. Petersburg from Petergof. Imagine finding again the same snow, but its white is somehow different, the same sunsets, whose light is somehow less rosy. Imagine observing the wrinkles on people’s faces and feeling yourself a stranger in your own home. Imagine leaving to take a break from familiar places, from the beaten tracks of a vanishing Russia and coming back to look at them with new eyes. Imagine digging deep in the layers of forgotten everyday lives, discovering them and finding yourself again. During her journey, Vasilyeva becomes a visual archaeologist of her country, exploring the hidden past of her rural Russia to reconstruct the pieces of her identity. “Wise as you will have become, so full of experience, you will have understood by then what these Ithakas mean” said Costantino Kavafis and, maybe in this very poem lies the meaning of life. Because the real journey is the return.

Alessia Rollo

Alessia Rollo

born in Lecce (IT), 1982
lives in Italy

Alessia Rollo is a conceptual photographer. She obtained a Master in “Creative Photography” in 2009 at the school EFTI in Madrid. She participated in solo and group exhibitions in Spain, Italy and Brazil and worked with the “Media Lab Prado” in the making of the Fluxstudio Performance Project. She was selected for the international art residency Default – Masterclass in residence in 2011, for a residency at the MO.ta in Ljubljana in 2013 and for the Biennale of Young Artists of the Mediterranean in 2015.

Fata Morgana
2015—

text by Gioia Perrone

Fata Morgana nasce nel 2015 da una personale esigenza dell’autrice di esplorare e ricostruire il proprio territorio di origine, il Salento, attraverso una lente della migrazione, del passaggio e dell’attraversamento, elementi che sin dall’infanzia hanno marcato il suo ricordo e la sua memoria. Il Salento, come l’Europa tutta, è recentemente diventato fenomeno illusorio di popoli in fuga dall’Africa, dai Balcani o di turisti in cerca di nuovi paradisi dell’ozio.
Analizzando alcuni simboli e alcuni scenari legati a fenomeni recenti e passati, decontestualizzando oggetti e creando messe in scena, in questo progetto Alessia Rollo ha “cercato di indagare il legame che si è stabilito con la memoria, cercando di dare nuovi significati e aprire nuovi immaginari meno drammatici dal punto di vista estetico, ma non per questo meno significativi su fenomeni come lo sfruttamento dei lavoratori stagionali, la migrazione clandestina o il rapporto con la vicina Albania”.
L’autrice ha definito questa ricerca un tentativo di restituzione di complessità all’immagine del Salento, così appiattito dal marketing territoriale regionale degli ultimi anni.

Call for Projects 2016
Manifatture Knos

The project Fata Morgana started in 2015, stemming from the personal need of the author to explore and reconstruct her region of origin, Salento. The elements of migration and transition have marked the author’s memory since her childhood and are the imaginary lenses through which she structures the reconstruction. Salento, as well as whole Europe, has recently become an illusion of refugees seeking asylum from Africa and from the Balkans, or of tourists looking for new relaxing destinations.
Alessia Rollo analysed several symbols and scenarios linked to recent and past events, decontextualizing objects and creating settings. Her project tried to “analyse the link that has been established with the memory”, “trying to attribute new meanings and to create new visions. Despite being less dramatic from an aesthetic standpoint, these visions are not less meaningful when it comes to phenomena such as the exploitation of seasonal workers, clandestine migration or relations with the neighbouring Albania.”
According to the author, this research is an attempt to recreate the complexity of the image of Salento, belittled by the territorial marketing of the region developed in recent years.

pics7

pics6

pics

Gloria Oyarzabal

Gloria Oyarzabal

born in London (UK), 1971
lives in Spain

Co-founder and programmer at the independent cinema “La Enana Marrón” in Madrid (1999—2009), dedicated to the diffusion of author, experimental and alternative cinema. Since 1996 working in the cinema world taking care of artistic direction and photography of experimental short films & documentaries. Lived in Bamako, Mali (2009—2012). Graduated on Conservation & Restoration of Art (1993), Bachelor on Fine Arts at Complutense University at Madrid (1998). She has been a teacher of Analysis of Architectural Forms at IADE (2001—2010).

(Still) The Barbarians
2016

text by Elena Carluccio

Il termine Barbaro (βάρβαρος) nel mondo classico indicava una persona balbuziente, che non sapeva pronunciare correttamente il greco. Il termine ottenne quindi un’accezione dispregiativa quando si impose l’idea di una contrapposizione tra una cultura positiva, civile, “superiore” e un’altra, quella barbara, vista come rozza, incivile, quasi ostile. Il termine “barbaro” divenne uno strumento essenziale che i popoli greci prima, e romani poi, utilizzavano per indicare i popoli invasori e stranieri, prendendolo come pietra di paragone per poter definire la “normalità”. Si tratta di stereotipi etno-centrici mai scomparsi: chi usava e usa la parola “barbari” per definire un’umanità diversa e degradata di solito pensa di non appartenere a quella tribù; ma la verità è che per ognuno di noi i barbari sono sempre gli altri. In realtà, non esiste alcun confine territoriale definito e riconoscibile che divida gli uni dagli altri. Il lavoro della Oyarzabal indaga i “barbari” dei giorni nostri e gioca con queste sottili cesure territoriali, svelando al tempo stesso quanto esse siano immaginarie e irreali: le tende di un’abitazione, la gabbia di uno zoo, un filo spinato, perfino un arcobaleno. Ancora una volta sta a noi guardare questi nuovi barbari come gramigne che impoveriscono le culture, oppure ammirarli come nobili selvaggi, portatori di rinnovamento e idee nuove.

Call for Projects 2016
Manifatture Knos

In ancient times, the Greeks used the term Barbarian (βάρβαρος) to describe a stuttering person incapable of articulating correctly the Greek language. When the idea of a positive, “superior” culture arose, the word became a derogatory term by which people indicated an “inferior” different culture, considered rough, uncivilised and almost wild. The ancient Greeks and the Romans after them used the word barbarian to indicate foreigners and invading populations. For ancient cultures, this word became essential, as a starting point of comparison, to define “normality”. It is a matter of ethnocentric stereotypes that have never disappeared: who used the word barbarians and still uses it to describe a degraded and different humanity usually does not think to be part of such a tribe. The truth is that, for each of us, the others are always barbarians. Actually, there are no defined land borders that divide us form the others. This project inquires into contemporary barbarians and plays with these territorial breaks, revealing how unreal and imaginary they are at the same time: the curtains of a house, the cage of a zoo, a barbed wire and even a rainbow. Once again, it is up to us whether to look at those new barbarians as weed infesting cultures, or to admire them as wild and noble bringers of renewal and new ideas.

pics1

pics2

pics6

pics7

Jorge Fuembuena

Jorge Fuembuena

born in Zaragoza (ES), 1979
lives in Spain

Jorge Fuembuena is fellow artist of La Casa de Velázquez. He has participated in Pulse Art Miami Beach 2014, Voies Off, 2015 Arlés, CCEMEX ( México D.F. 2011), Paraty Em Foco 2013 (Brasil), Plat(t)form 2013 (Fotomuseum Winterthur) and The Solo Proyect Art Basel 2015, Encontros Da Imagem (Braga, 2012), Pingyao Festival 2015 (China), Getty Gallery (2014 London), Flora Ars and Natura (Bogotá, 2015), Antonella Cattani Gallerie (Bolzano, 2015), Frey Galerie (Salzburg and Wien, 2014), Photoespaña (Madrid, 2013 and 2015). His work can be found in private and public collections.

Holidays
2010

text by Alessia Venditti

Il duro lavoro delle vacanze.
Jorge Fuembuena ritrae i luoghi delle ferie con l’apparente senso di libertà che li contraddistingue e la reale, sottesa rete di regole che li governa.
Il rapporto con la natura di questi siti è filtrato da una serie di consuetudini che fa dell’individuo una sorta di ingranaggio in un sistema consolidato che annienta l’individualità locale, inserendo i “natural landscapes” in un equivalente modus operandi vacanziero.
Le fotografie di Fuembuena, forti di una luce rivelatrice, fanno emergere la figura umana, individuata da contrasti cromatici, alienandola dai fondali paesaggistici che restano, altresì, la ragione unica dei tanto bramati giorni liberi.

Call for Projects 2016
Manifatture Knos

The hard work of holidays.
Jorge Fuembuena portrays holiday places with their illusory sense of freedom and their real, underlying net of rules.
The relationship between these places and nature is filtered by a series of habits that make the individual seem like a sort of cog in the wheel in a strengthened system which destroys the local individual and inserts “natural landscapes” in an equivalent holiday modus operandi.
Fuembuena’s photos, which take advantage of a revealing light, make the human figure stand out in chromatic contrasts, thus alienating it from the landscapes which remain the only reason to take some days off.

Schermata-2016-06-27-alle-22.38.23

Schermata-2016-06-27-alle-22.38.58

Schermata-2016-06-27-alle-22.38.38

Schermata-2016-06-27-alle-22.38.00

Anne Euler

Anne Euler

born in Büdingen (DE), 1985
lives in Germany

Anne Euler studied at École des Beaux-Arts de Bordeaux, France and University of Art and Design Hfg Offenbach, Germany. She took part in a Residency Program at Satellit, Berlin and several exhibitions in Germany and Austria. She works as a freelancer in video, photography and exhibition design.

Grouping
2016

text by Elena Carluccio

La Euler si affaccia su un’anonima piazza di Guadalupe e, raggruppando i passanti secondo un criterio di unificazione cromatica, cerca di restituire omogeneità ad una folla eterogenea. Già le teorie della Gestalt e in particolare Werthemeir avevano sostenuto che non c’è corrispondenza diretta tra la realtà empirica e quella che ognuno di noi percepisce; allo stesso modo anche la fotografa tedesca pone la domanda: “how do we see the world?”. Troppo spesso osserviamo e giudichiamo ciò che abbiamo intorno, muovendo da un’analisi delle impressioni superficiali che, sicuramente, hanno un ruolo fondamentale nella nostra percezione visiva, ma poco raccontano della vera identità dei singoli. Da una parte vi sono gli elementi del mondo esterno, che si identificano con una massa omologata, dall’altra l’osservatore che, attraverso un’elaborazione intellettiva, deve mettere in discussione le sue illusioni percettive. Grouping quindi è omologare ciò che si vede per operare una critica verso la spersonalizzazione, nella quale troppo spesso tutto viene stereotipato, dimenticando le diverse identità e gli Io più profondi.

Call for Projects 2016
Manifatture Knos

Anne Euler makes her appearance in an ordinary square in Guadalupe, grouping passers-by according to a criterion of chromatic unification. Doing so, the author tries to make a heterogeneous crowd homogeneous again. The Gestalt psychology – especially Wertheimer– supported the idea of the lack of correspondence between the empirical reality and the reality that each of us perceives; in the same way, the German photographer asks: “how do we see the world?”. We observe and judge the world around us way too often through superficial impressions, which surely play a central role in our visual perceptions, but say almost nothing about the individuals’ identity. On one hand, the various elements of the world are identified in a uniform mass; on the other hand the observer has to think about it and put into question his perceptive illusions. Hence, Grouping is homologating what we see in order to criticise the process of depersonalisation, in which everything is stereotyped and the different, deepest identities are forgotten and lost.

pics-1

pics-3

Giorgio Di Noto

Giorgio Di Noto

born in Rome (IT), 1990
lives in Italy

Giorgio Di Noto studied photography and he learned Darkroom and Printing Techniques working with some master printers in Italy. He started in 2011 a research about the materials and languages of photography studying the relationship between the technical process and the content of the images. The education experiences continue with the selection for the Reflexion Masterclass and the World Press Photo Joop Swart Masterclass. He is studying Philosophy at La Sapienza University, works and live in Rome.

The Valley
2011—

text by Alessia Venditti

La Valle del Belice si sviluppa intorno al corso del fiume Belice. È collocata nella parte occidentale della Sicilia, tra le province di Palermo, Trapani e Agrigento.
Alle 13:28 del 14 gennaio 1968 la zona fu colpita da un forte movimento tellurico che sfigurò la conformazione urbanistica dei comuni della valle e del comprensorio. La ricostruzione successiva ha dato luogo a uno degli scandali architettonici del secondo dopoguerra; come Di Noto stesso riferisce “il processo di ricostruzione è stato ispirato dal modello delle città danesi e la gente di questa valle che viveva in piccoli villaggi collegati da strade strette, ora vive intorno a strade molto ampie circondate da strutture vuote”.
The Valley è il lavoro fotografico, condotto nel 2011, a quarantatre anni dal terremoto, che analizza come un progetto architettonico possa imporsi sul paesaggio e sulle persone, violentando l’assetto identitario di un’intera generazione e proponendo a quelle successive una visione trasformata e quasi schernente la storia di quegli stessi luoghi.

Call for Projects 2016
Bar SettedìSette

Belice Valley stretches along Belice river in the western part of Sicily, between the Provinces of Palermo, Trapani and Agrigento.
On 14th January 1968 at 13:28 the valley was affected by a powerful earthquake that disfigured the urban layout of the cities located in the valley and in the district. The subsequent reconstruction gave rise to one of the architectural scandals after World War II. Di Noto affirms: “The rebuilding process was inspired by models used for Danish cities. People used to live in small villages connected each other by narrow streets. Now they live on wide roads surrounded by empty buildings”.
The Valley is a photographic work, made in 2011, 43 years after the earthquake. It analyses how an architectural project can easily impose itself on the environment and on people, violating an entire generation’s identity and offering a completely different and taunting historical view of those places to new generations.

Untitled-1

pics 6

Untitled-1

Untitled-1

Dario Bosio

Dario Bosio

born in Genova (IT), 1988
lives in Italy

After studying Journalism and Documentary production in Italy and Denmark, Dario Bosio interned at NOOR Images in Amsterdam, and then worked with major institutions in Italy as a project manager and curator for photography projects and workshops. In 2015 he has moved to Sulaymaniyah, Iraq to work as photo-editor and producer at the Metrography photo agency and produced the project Map of Displacement. His work has been published by major publications and exhibited at venues worldwide.

On the Identity of a Tomato Picker
2014

text by Alessia Venditti

Puglia, la quotidiana lotta dei raccoglitori di pomodori per il rispetto della propria dignità e la sopravvivenza della personale identità.
“Ho lavorato su questa serie con l’intenzione di raccontare una storia in un modo che avrebbe rispettato il diritto di queste persone ad auto-rappresentare se stessi”. Dario Bosio ci fornisce un racconto per immagini atipico e al contempo reale, che tenta di restituire un concetto di sopravvivenza mediante il lavoro, garante di quella identità scarsamente tutelata dalla cronaca ordinaria.
L’Africa è presente in questo lavoro tanto quanto i campi, tanto quanto quei sorrisi dalla fisionomia celata, quanto un pomodoro e una carta di identità. On the Identity of a Tomato Picker non è il tentativo di ridurre il tutto a mera denuncia, ma la prova che si possa spezzare una catena di comunicazione incurante della personalità presente dietro ciascuna di quelle anime esauste.

Call for Projects 2016
Manifatture Knos

Apulia, the everyday fight of tomato pickers for the respect of their dignity and for the survival of their personal identity.
“I worked on this series with the purpose of telling a story that could respect the right of these people to self-represent themselves”. Dario Bosio shows us a story built through images which is atypical but real at the same time and which tries to show the concept of survival through work as warrantor of that identity barely protected by ordinary news.
In this work Africa is present as well as fields, smiles with their hidden physiognomy, a tomato and an identity card. On the Identity of a Tomato Picker is not an attempt to reduce everything to mere denunciation, but it proves that the communication chain can break, unconcerned about the personality hidden behind all those exhausted souls.

pics 9

pics 7

pics 1

pics 6

Fabrizio Albertini

Fabrizio Albertini

born in Verbania (IT), 1984
lives in Italy

Fabrizio Albertini graduated in Film Direction and Production at the Academy of Audiovisual Sciences Pio Bordoni (Swiss). His work has been shown, among the others, at International Locarno Film Festival and Solothurner Filmtage. His photographic series has been exposed, among the others, at Aperture Foundation and Photobook Melbourne.

Diary of an Italian Border-worker
2015

text by Alessia Venditti

Diary of an Italian Border-worker è un lavoro che parla del viaggio e parla del confine insieme. Il termine “viaggio” prevede che si varchi un confine, mentre il concetto di “confine” contiene in sé quello di limite, di valore massimo intransitabile. Far convivere le immagini di attraversamento e valico pare un’astrazione, eppure le immagini di Fabrizio Albertini si snodano in un dialogo silente, fatto della loro coesistenza in una consuetudine, in un familiare appuntamento con la quotidianità.
Toni alti ed espressività leggera si intrecciano in immagini lievi, calibrate, dal candore un po’ ceruleo, un po’ porpora di una realtà vicina e al contempo lontana.

Call for Projects 2016
Manifatture Knos

Diary of an Italian Border-worker combines the concept of travel with that of border. By the term “travel”, one is supposed to cross a border. On the other hand, the concept of “border” itself implies that of limit, seen as the top value beyond which no one can go. You may say it is chimeric to bring together border and crossing images. However, Fabrizio Albertini’s shots follow one another and silently speak each other, coexisting in a familiar rendezvous with everyday life. Strong spirit and light expressiveness intertwine with each other to create delicate and balanced images. Their cerulean and purple candour represents a close but, at the same time, distant reality.

Diary_2

Diary_3

Diary_4

Diary_5

Carlos Alba

Carlos Alba

born in Madrid (ES), 1984
lives in United Kingdom

Carlos Alba is an independent visual artist based in London, United Kingdom. He is a regular contributor of weekly and monthly magazines. His work is focused on human relations in the modern world. His photographs have a conceptual approach and they reflect contemporary social issues from a positive point of view. His tools are objects and archives, that help him to find the photographs that he wants to take. He has been recently finalist of Grand Prix Fotofestiwal and one of the winners of Flash Forwards UK Magenta Foundation.

The Observation of Trifles
2013—2016

text by Andrea Laudisa

Il progetto di Carlos Alba si compone di una sequenza di immagini in dittico che narrano storie accidentali costruite attraverso lo scorrere irregolare della casualità, dittici che in un flusso di coscienza joyciano associano il ritrovamento di oggetti a volti e scorci incontrati per strada. Gli oggetti divengono quindi luogo di sedimentazione e stratificazione e guidano l’artista alla scoperta di forme nuove di comprensione del vissuto quotidiano. Ciò che ne viene fuori è un racconto per libere associazioni che restituisce allo spettatore la sensazione che anche nello smarrimento tutto sia in perfetto ordine.

Call for Projects 2016
Manifatture Knos

Carlos Alba’s project is composed by a sequence of images combined in diptychs which tell accidental stories built through the irregular flow of casualty; diptychs which, in a Joycean flow of consciousness, associate the recovery of things to faces and glimpses that one can find on the road. This way, things become place of settling and stratification, thus leading the artist to discover new kinds of everyday life’s understanding. This creates a story through free associations, which makes the onlooker feel like everything is in perfect order even in bewilderment.

carlos_alba_theobservationoftrifles_001

carlos_alba_theobservationoftrifles_008

carlos_alba_theobservationoftrifles_006

carlos_alba_theobservationoftrifles_005