Vittoria Gerardi      

http://vittoriagerardi.viewbook.com/vittoria-gerardi/about

“Non fai solo una fotografia con una macchina fotografica. Tu metti nella fotografia tutte le immagini che hai visto, i libri che hai letto, la musica che hai sentito, e le persone che hai amato”. Il paesaggio della nostra copertina, realizzato per “la Lettura” da Vittoria Gerardi (San Donà di Piave, Venezia, 1996) corrisponde alle parole di Anselm Adams, uno dei più grandi paesaggisti della storia della fotografia: quello che vediamo infatti è solo un’idea di paesaggio, una percezione, ma è anche l’autentico frutto di un’esperienza vissuta, sofferta e amata nel deserto della Death Valley in California. È l’immagine di un confine dello sguardo che diventa impronta, traccia, cicatrice. Vittoria Gerardi è un’artista che si appropria di metodologie della tradizione, in cui le immagini prendono vita in camera oscura e che ridefinisce come suo linguaggio concettuale. Attraverso un processo di mascherature e una rielaborazione dei negativi, opera con gli elementi di luce e tempo: altera le tonalità del bianco e nero, ricostruisce forme e spazi in un intervallo sospeso. Il suo è un pensare l’immagine come pratica di meditazione. Una fotografia come visione dell’invisibile. (Testo di G. Colin- LaLettura Corriere della Sera)

 

Marco Maria Zanin  

http://www.marcomariazanin.com/

My research evolves within a continuous oscillation between two geographical and semantic poles: the rural and peripheral areas of my homeland, the North Italian region of Veneto, and certain global cities I stay in several months a year, mainly San Paolo in Brazil. They correspond to two different temporalities, the former deeply rooted in the land, typical of the way in which work was experienced and interpreted until a relatively recent past, abruptly replaced by the other, which starting from the advent of industry and technology, has radically transformed our present. My work consists in an on-going superimposition of elements deriving from these two contexts, which are played one against the other in an attempt to scrape the surfaces of the crystallizations and barriers that separate them and to enable a new perception of each.​

 

Paolo Ciregia  

http://www.paolociregia.eu/index.html  

Finalista tra i Foam Talents di Unseen Magazine,

Finalista del Premio TU35 del Museo Pecci,

Finalista del Premio Fabbri

Paolo Ciregia (1987, Italy) lives and works in Italy. In the last five years his artistic research has been focused on Ukraine, first documenting the Russian Ukrainian conflict, later manipulating and reworking his personal archive in a new way. Political ideologies, alienation, and means of mass control are topics on which he based his research; dissecting and reworking the languages and their symbols, Ciregia’s aim is to reveal the atrocities behind the war, destroying the false and arrogant patina created by propaganda throught installations aimed by a strong emotional impact, creating.

 

Tiziano Doria   

http://tizianodoria.blogspot.it/

Finalista del Premio Cairo 2017

Al suo debutto, nel 2008, ha presentato al pubblico binario/bitonale, un lavoro in cui riduceva Veduta dalla Finestra di Gras, la prima fotografia della storia realizzata da Niepce, in codice binario per poi 'suonare' la sequenza di zero e uno con la tastiera del cellulare. Un lavoro radicale che aveva al centro il ruolo del computer visto come 'omogeneizzatore': una scatola universale dove tutto acquisisce una stessa natura, portando ogni media al grado zero. Dal 2008 ad oggi l’interesse per gli aspetti tecnici della fotografia è rimasto centrale nella ricerca artistica di Tiziano Doria e quel primo lavoro assume, così, una natura programmatica in cui è possibile intravedere, in nuce, tutti gli elementi sviluppati negli anni e che lo stesso Doria sintetizza così: «Lavoro spesso con immagini che non ho prodotto io. Rifotografo immagini già esistenti. Spesso i miei lavori sono un'azione, quasi il documento di quell'azione. L'azione è minima, mai eclatante. Quasi sempre le mie fotografie parlano di fotografia. Quasi sempre le mie immagini non parlano di fotografia».

 

Irene Fenara   

http://irenefenara.weebly.com/

Artista in residenza a Bergamo per The Blank Project 2017

Irene Fenara è una giovane artista interessata a diversi medium espressivi con particolare attenzione a video e fotografia. Laureata all’Accademia delle Belle Arti a Bologna, l’artista abita e lavora a Bologna. Nel 2012 è diventata borsista presso la Fondazione Collegio Artistico Venturoli di Bologna.

Nel 2015 è stata finalista della Quarta Edizione del Premio Francesco Fabbri per le Arti Contemporanee, a cura di Carlo Sala. Nel 2016 è stata selezionata da Francesco Zanot per la mostra Give Me Yesterday all’Osservatorio Fondazione Prada di Milano. Le opere dell’artista sono stata presentate all’OTTO Gallery, ARTVERONA, Fondazione Fotografia Modena, P420.

Nei suoi lavori fa ricerca sul concetto di tempo e memoria, lavorando con immagini che ribaltano i punti di vista e generano situazioni di disorientamento spaziale. 

 

Francesca Catastini

http://francescacatastini.it/

(Vincitrice del Photo Book Award Vienna 2016)

“The modern spirit is vivisective. Vivisection itself is the most modern process one can conceive. The ancient spirit accepted phenomena with bad grace. The ancient method investigated law with the lantern of justice, morality with the lantern of revelation, art with the lantern of tradition. But all these lanterns have magical properties: they transform and disfigure. The modern method examines its territory by the light of day.”

So said the modernist manifesto of a young James Joyce, a former medical student, in hisStephen Hero, offering a portrait of the artist as vivisector, a carnal voyeur whose victim suffers his gaze as she does the surgeon’s scalpel.

Photo-artist Francesca Catastini explores vivisection as an aesthetic performance. Acting as both the victim and the artist, she dissects the very notion of scopophilia, blindness and the human quest for knowledge.

Presented as a cornucopia of materials, her found photographs of old Anatomy lab and blind school students mingle with appropriated frontispieces of Renaissance Anatomy manuals and her austere yet ironical photoworks to form a telescopic structure divided into overlapping sections – the chapters of her forthcoming book: on looking, on touching, on cutting and on discovering.

Federica Chiocchetti, The Photocaptionist

 

 

Simona Luchian

http://www.premioceleste.it/simona.luchian

Vincitrice del Premio Celeste 2016 sez Fotografia

 

Justine Tjallinks

http://justinetjallinksphotography.com/

Vincitrice di vari premi tra cui:

INTERNATIONAL COLOR AWARDS 2017
International photography competition
2nd Place - Merit of Excellence - Category Fashion
*****
TOKYO INTERNATIONAL FOTO AWARDS 2016
International Photography competition
1st PLACE - Fine Art Portrait
1st PLACE - People/Children
2nd PLACE - People/Children
3rd PLACE - Fine Art Portrait
*****
LENSCULTURE PORTRAIT AWARDS 2016
International Photography competition
1st PLACE - Portrait Awards

1st prize best photographer 2018 -

Justine Tjallinks is an Amsterdam-based Dutch Artistic Photographer. She started her career as a magazine Designer and Art-Director and worked for leading fashion titles. After several years of working with photography she wanted to create imagery as she envisioned and took the leap towards a new career in 2014.


Justine aims to capture the uniqueness of individuals and the diversity of human beauty, often backed by a story of social importance. Inspired by the master painters from the Dutch Golden Age, her artworks feature muted colours and balanced compositions. Fashion design is used as an additional means of expression.  Even though a sense of nostalgia speaks through her art, the aim is to always remain in line with the contemporary zeitgeist.

 

Malgorzata Stankiewicz

https://www.flickr.com/photos/124044529@N05/sets/72157682141261423/

Vincitrice del Dummy Award ad Unseen Amsterdam 2017

Unseen and Lecturis are delighted to announce that Malgorzata Stankiewicz is the winner of this year’s Unseen Dummy Award! Showcasing compelling photobook designs from exceptional artists all over the world, the Unseen Dummy Award grants a winner the opportunity to have their photobook published and distributed on an international scale, positioning their work within the global photobook industry. Stankiewicz‘s photobook is titled Cry of an Echo.

 

Natalia Evelyn Bencicova

http://evelynbencicova.com/

Evelyn Bencicova is a visual creative focussing mainly on the medium of photography and art direction. Born 1992 in Bratislava, Slovakia Evelyn studied fine art and new media at University of Applied Arts in Vienna. Today combining her academic research with interest in contemporary visual culture, Evelyn’s work is unmistakable for her signature timelessness and individual aesthetic.

 

Teresa Visceglia

http://www.teresavisceglia.com/

Nata in provincia di Matera nel 1967, è traduttrice e insegnante. L’interesse per la fotografia nasce durante gli studi universitari, scattando e sperimentando lo sviluppo dei negativi. Consolida la passione per l’immagine e per la fotografia con i corsi di storia ed estetica cinematografica all’Università di Coimbra. La sua ricerca fotografica negli ultimi anni si è concentrata sulla dinamica di routine che si crea in situazioni straordinarie, quali i retroscena di spettacoli teatrali e circensi. Quello che risulta è un’atmosfera che è privata e pubblica allo stesso tempo, grazia alla quale è possibile accedere a quell’intimità che altrimenti sarebbe difficile cogliere. Dal punto di vista estetico ritiene di essere debitrice al cinema espressionista, con le sue distorsioni prospettiche e le atmosfere cupe, contrastate da luci abbaglianti.

 

Alessandra Calò

http://alessandracalo.it/

Alessandra Calò works and lives in Reggio Emilia, Italy.
Artist and photographer, she has been experimenting from the beginning of her career the use of new languages that allow her to deepen her grasp of themes related to memory, identity, and to the language of the photography itself. The dominant theme in her work is “recollection”: a state of mind combined with reality and not simply a nostalgic evoking of the past. She is passionate about old print photographic processes (silver salts, calotype, cyanotype).

 

Alexandra Lethbridge

https://www.alexandralethbridge.com/

Using the notion of the Meteorite as a metaphor for the fantastical hidden with in the everyday, the body of work is a document of a hunt to locate the ethereal and sublime in the mundane and banal.

A Meteorite Hunter is a person who commits to the art of finding space rocks. It’s a search within our everyday for a glimpse of a translunary guest, a clue to something that tells us more about who we are and where we come from. The Meteorite in this way becomes a beacon, negating hunters through our landscape to find clues of celestial company. The act of searching is to thoroughly seek and pursue to find something concealed. The meteorite, in her modest way, hides reservedly in our surroundings, concealed in layers of the ground, sand, water and dirt covering her over, her exotic homeland hidden in her camouflage.

 

Maurizio Beucci

​http://www.mauriziobeucci.com/

 

 

 

Marco Tagliafico

https://www.marcotagliafico.com/

My artistic research deals with time, the ambiguity and the complexity of the process of seeing.

It's a construction / deconstruction / reconstruction of mental landscapes, resulting from my fascination with outer space, the exploration of possible worlds and the contemplation of something uncertain and unforeseen.

The works challenge the boundaries of photography, altering it's specificity within the endless clash between reality and its representation.

 

Silvia Bigi

http://www.silviabigi.com/

The project L'albero del Latte approaches the issue of gender identity and the role of woman in contemporary society. In times where feminicide is one of media main topics, I tried to go to the origin of the problem, questioning myself on the relationship between biological destiny and social rules. The expression “Tree of milk” comes from the Kanun, an ancient code of law from the Balkans, where the feminine lineage is defined in opposition to the “Tree of blood”, which is the masculine ancestry: the only one that counts in a very strong patriarchal society.

 

Alessandra Calò

http://alessandracalo.it/

Alessandra Calò works and lives in Reggio Emilia, Italy.
Artist and photographer, she has been experimenting from the beginning of her career the use of new languages that allow her to deepen her grasp of themes related to memory, identity, and to the language of the photography itself. The dominant theme in her work is “recollection”: a state of mind combined with reality and not simply a nostalgic evoking of the past. She is passionate about old print photographic processes (silver salts, calotype, cyanotype).

 

 

 

 

 

 

 

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