a cura di Laura Albudanzi e Maria Elena Morelli studentesse difotografia presso l’Accademia di belle Arti di Bari 1. The ‘Afuera’ project started by observing people and making videos of simple gesturesthey are performing on balconies, terraces, etc… in lockdown, and it all started with anelderly gentleman walking on the terrace. Is there anything that particularly attracted you tothis elderly man? How did you immediately come up with the idea of making a video andcontinuing the project in this way, and not just taking photographs? 2. Still referring to your Afuera project. What emotions did you feel observing thesepeople? Did you feel similar to any of them? I think I started…

a cura di Riccardo Scattaglia, studente di fotografia presso l’Accademia di belle Arti diBari 1. In ”Photographer without Camera” and in ”Latvian Girls and Boys” the subject of the photosare completely unaware of being part of a photo project and that makes them a great look ofa cultural context; how much do you think you take from this context to create a project? As with parasites, the goal is to swallow as much as possible without any ethical bias. Social media is fullof completely unconscious readymades. We just have to wait for a creative curator to classify,organize, reposition or join the treasures.  2. As well as ”Pat & Mat”, the animated series, are there other shows or…

a cura di Cecilia Guario 1) How did your interest in photography develop, and how was your education? I studied at the National School of Arts in Bourges -France-, a school oriented towards video & film.Very quickly, I began to film the parties there. There were so many situations that deserve attention tofocus on. I started filming my friends, looking for sparks, extravagance, that magic flash of insanity, fromglamour to its slowly fading into the groggy comedown. These parties were different from the ravescene I came from. Costumes, seduction, and provocation were the essential elements of behavior.These parties were spaces of simulation where the gaze circulates, where anyone who looks…

a cura di Teodora Ranieri – Studentessa di Fotografia presso l’Accademia di Belle Artidi Bari 1) La situazione di Cracolândia rappresenta un tipo di comunità con evidenti disagi sociali, fisicie psicologici. Quanto comunque questa idea di comunità può essere salvifica per le persone aimargini sociali, che altrimenti non avrebbero neppure di che vivere? Penso per esempio aimolteplici bambini presenti. Comunità è la parola chiave per intendere questo contesto. Anzi, più che comunità Quilombo. IQuilombos, durante il periodo coloniale, erano comunità autonome formate da ex schiavifuggiti dalle piantagioni brasiliane. La Cracolândia è un quilombo urbano i cui frequentatori eabitanti sono per l’80% neri, hanno scontato un periodo in prigione e hanno…