Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
Italian photojournalist Dino Fracchia was born in Milan in 1950 and began his professional career
with the newspaper lUnit in 1974. Around that time, counterculture newspapers such as the
magazine Re Nudo (The Naked King) were being printed. These organized two large rock music
rallies (named Youth Festival of the proletariat) in Parco Lambro, Milan, modelled after the
peace and love atmosphere of Woodstock (1969). Fracchias camera recorded these large-scale
happenings in unambiguous detail, gatherings of the radical left which would eventually culminate
in Bolognas violent clashes of 1977. Countless images capture the vibe of this fleeting historical
moment.
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French photographer Jrmie Souteyrat presents some of the best private houses in his adopted
city of Tokyo. A documentary photographer by trade, it was only after moving to Japan that he
taught himself how to photograph architecture. His desire to capture the tiny streets of Tokyo led
to a personal project where he sought out the most interesting and surprising contemporary
houses in the citys residential neighbourhoods. He spent four years making images of these
hidden architectural gems by a range of architects, including firms like Atelier Bow Wow, Go
Hasegawa, Sou Fujimoto Architects, Shigeru Ban, and ALX. Includes an interview with Japanese
architect Kengo Kuma.
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What does the world look like? What feelings does it stimulate? Why do we photograph it so
urgently? Since 2009, Danish photographer Albert Elm (born 1990) has pursued his curiosity
about human existence with a restless energy and intrepid wanderlust, crossing far-flung time
zones, boarding the Trans-Siberian Railway, travelling alone in Dubai, China, India, or just
walking through his neighbourhood in Copenhagen.
What Sort of Life Is This remixes Elms distant and local journeys into a bright, bewildering
panoply of narrative fragments and surreal compositions that feels both global and personal,
fractured yet strangely complete. Photographed using a 35mm film camera (colour and black and
white) and referencing numerous styles and genres, the work explodes with the spontaneous
colour and complexity of lifetender, violent, lonely, joyful, bizarre. Equalizing the exotic and the
banal, the book treats every picture as if it were made in the same mystifying place: the world
itself.
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Borrowing its title from the Wallace Stevens poem in which little existed for him but the few
things / for which a fresh name always occurred, Local Objects presents a beautiful yet
remarkably unassuming body of work by Brooklyn/central Illinois-based photographer Tim
Carpenter (born 1968): a calm, steady rhythm of 74 medium-format photographs made in the
semirural American Midwest.
While each picture records the seemingly random non-activity of a typical street view, Carpenters
meticulous composition and contemplative sequencing creates a harmony of natural and
geometric motifs running quietly throughout the book, an interplay of minor chords that draws the
viewer into this specific physical place (mostly central Illinois, where Carpenter grew up).
Detached from the urgency of current affairs, stripped of all excess, the photographs reflect a
poetic attempt to see the thing in itself, to make meaning with the barest tools possible.
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Photographer, writer, and director, Raymond Depardon seems to be able to do it all. He has
covered all aspects of photography, from his first steps at the native Le Garet Farm, to celebrity
hideouts, from reporting for the press to street photography and independent documentaries. This
survey book hinges on four main themes: la terre natale [homeland], les voyages [journeys], la
douleur [pain], lenfermement [confinement].
With writing as the Ariadnes thread, this publication invites on a journey through the artists work
from his beginnings at Le Garet Farm until today. With Depardon, writing and photography offer
two very different temporalities: writing is primarily listening to yourself, daring to impose your own
rhythm faced with what comes along, the famous absences of the photographer.
Avoiding the rhetoric of compassion which has never appealed to him, creating slightly ordinary,
calm images, without any particular eloquence, but full of emotion; a clear agenda that leads him
alternately into intentional wandering and the decisive production of an archive to be passed on.
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