Il Corpo del Capitano, the photographic book by Luca Santese and Marco P. Valli

Il Corpo del Capitano, the photographic book by Luca Santese and Marco P. Valli

Giulia Guido · 2 years ago · Photography

About two years ago we talked about the photographic project Realpolitik: La terza Repubblica by Luca Santese and Marco P. Valli. The book published by Cesura Publish showed a complete and true portrait of the Governo Conte through close-ups of politicians, the faces of the participants in the demonstrations, but also small details that manage to capture the political and social atmosphere of the country. 

Once the Realpolitik project was over, Luca Santese and Marco P. Valli did not lose interest in the world of Italian politics but decided to concentrate all their artistic research on a single character, perhaps the most emblematic, Matteo Salvini

This choice stems from the fact that they recognized an innovative character in the language adopted by the leader of Lega who, in a certain sense, deprived photographers of the possibility of doing their job. In fact, if in the past the representation of politicians was entrusted to photographers, in Salvini’s case it was he who produced images of himself, ending up self-representation, or appropriating images of others using them to his own advantage. 

The two photographers are no strangers to this practice. One of the photographs in Realpolitik showing Salvini in the foreground was chosen as the cover photo for an issue of Time in which the leader of Lega was criticized. Despite the tone and arguments of the article, Salvini decided to use that same shot on several occasions.

Driven by the desire to regain possession of their role and to give back to the public organic documentation of Salvini’s political activity, Luca Santese and Marco P. Valli have created a new volume entitled “Il corpo del Capitano“, always published by Cesura Publish

Adopting a style characterized by the use of black and white, which contrasts with the aesthetics of Salvini’s communication, the photographers dissect the Captain’s body capturing small parts, from fingers to mouth, from beard to eyes, and then continue this analysis with the objects that are now part of the multifaceted Salvinian figure, from the crucifix to the T-shirts with printed inscriptions. 

For the cover of the book, the same photo that appeared on the time but emptied of the eyes was chosen: Salvini’s face becomes a mask, referring to the politician’s ability to embody dozens and dozens of different roles. 

In the end, however, a question arises spontaneously and it is the same one we find at the beginning of the book: “To whom, then, does the Captain’s body belong? To Matteo Salvini, to everyone, to no one”.

Il Corpo del Capitano, the photographic book by Luca Santese and Marco P. Valli
Photography
Il Corpo del Capitano, the photographic book by Luca Santese and Marco P. Valli
Il Corpo del Capitano, the photographic book by Luca Santese and Marco P. Valli
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All for the Gram – Soviet Innerness

All for the Gram – Soviet Innerness

Tommaso Berra · 3 days ago · Photography

Hosted this week by All for the Gram is not just a serial profile but an actual archive that collects details of an aesthetic that, however decayed, still holds great appeal. Soviet Innerness is a journey into Soviet design through the interiors of abandoned houses, amid torn wallpaper and cold, chipped tiles.

The wallpaper has been replaced in some cases by newspaper pages bearing news and photos from the 1980s, the peeling walls look like a layering of now-faded colors, as do the flower designs that once probably appeared more colorful.
The walls of Soviet Innerness are full of tired geometries, blocks of color and forms that always give the idea of unfinished, or of something that ended too quickly, leaving time for cracks to make everything look so beautiful and decadent.

The project curated by Elena Amabili and Alessandro Calvaresi describes the aesthetics of the Eastern Bloc and the themes that were present throughout the houses. There are illustrations on the walls of the countryside in USSR space, but also the great industrialization of communist cities and the memory of Misha, the popular mascot of the 1980 Moscow Olympics.

All for the Gram – Soviet Innerness
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All for the Gram – Soviet Innerness
All for the Gram – Soviet Innerness
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Brad Walls knows that squash is a geometric sport

Brad Walls knows that squash is a geometric sport

Tommaso Berra · 3 days ago · Photography

It could not have been easy to fly a drone inside a 20-square-meter squash court, but photographer Brad Walls felt it was the only way to enhance geometry and movement in a few shots. The “Vacant” series depicts the geometry of bodies, moving a choreographed within scenes inspired by surrealism and retro-futurism.
The idea of choosing that particular location came from a visit by the artist to the squash court in which he played in his high school days. The empty space the lines of the field inspired the artist to create one of his aerial series, which had at its center the human body detached from the context but perfectly inserted into the geometric layout.

Squash | Collater.al

One of Brad Walls’ challenges was to avoid a claustrophobic effect, so white is the predominant color in the shots, repeated even in the models’ clothes, a choice that would make even Wimbledon organizers happy.
The clothes themselves are an element that reinforces the concept of retrofuturism, creating a tension between past and future through the inclusion of a futuristic wardrobe in an 80s context such as the squash court.
Looking forward to publishing his first book, due out in the fall and titled “Pools from Above,” Brad Walls defined “Vacant” as follows: “Geometry provides a hint at consistency in an ever inconsistent world. Innately, humans are drawn to it. Me, maybe more so”.

Squash | Collater.al
Squash | Collater.al
Squash | Collater.al
Squash | Collater.al
Squash | Collater.al
Squash | Collater.al
Brad Walls knows that squash is a geometric sport
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Brad Walls knows that squash is a geometric sport
Brad Walls knows that squash is a geometric sport
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Kaisar Ahamed and “a thousand of gardens” that no longer exists

Kaisar Ahamed and “a thousand of gardens” that no longer exists

Tommaso Berra · 2 days ago · Photography

The Hazaribagh district in the city of Daka, Bangladesh, means “the city of a thousand gardens” in the Farsi language, and the name gives an idea of what the landscape was like before leather factories polluted everything.
Photographer Kaisar Ahamed has chronicled in his latest project the landscape around the Buriganga River, rendered biologically dead by the poisons poured into the waters by the tanneries. The course of the river now appears as an unreal landscape, the setting for an apocalyptic film in which the dirty water becomes an element of terror rather than life.
Kaisar Ahamed is a chemist, but he chose to conduct his analysis of Hazaribagh’s water through photography. He took water samples taken from the Buriganga River at different locations, building a kind of laboratory in which photography helps tell the story of an environmental disaster.
The title “A Thousand of Gardens” thus sounds somewhat ironic, a mockery to which the viewer is immediately made aware.

You can support the publication of a volume dedicated to the work of photographer Kaisar Ahamed through the fundraiser launched by SelfSelf, click here to find out how you can help make this photography project a reality.

Kaisar Ahamed | Collater.al
Kaisar Ahamed | Collater.al
Kaisar Ahamed | Collater.al
Kaisar Ahamed | Collater.al
Kaisar Ahamed | Collater.al
Kaisar Ahamed | Collater.al
Kaisar Ahamed | Collater.al
Kaisar Ahamed | Collater.al
Kaisar Ahamed and “a thousand of gardens” that no longer exists
Photography
Kaisar Ahamed and “a thousand of gardens” that no longer exists
Kaisar Ahamed and “a thousand of gardens” that no longer exists
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A world without adults in the photos of Julie Blackmon

A world without adults in the photos of Julie Blackmon

Tommaso Berra · 1 week ago · Photography

A world without “when I was your age it was different,” without “the youth of today are worthless,” a world in which therefore there is no “adultsplanning” and children seem to be able to do everything in total autonomy.
This is the landscape depicted in photography by Julie Blackmon, an American artist associated with family issues and small-town life.
The shots are social satire disguised within everyday scenes in which children are the real protagonists, not to say the only ones. All the details depicted are symbolic, as is the arrangement of the subjects, inspired by scenes painted by 17th-century Flemish painters.
Julie Blackmon’s goal is to represent the context of small American communities, tracing the dreams promoted by the American model.

One characteristic of Julie Blackmon’s children is their total detachment from anything related to contemporary technology. Thus they can be found playing “like in the old days,” painting the driveway with chalk, or in the handcrafted swimming pool in their own backyard.
Of inspiration for the photographer’s vision is the context of large families, being herself the eldest of nine siblings. In doing so she traces memories and what more generally influences childhood, made up of landscapes and elements that shape the way we think even as adults, those that Julie does not want to represent, deliberately leaving the feeling of a world in which everything is disconnected.

A world without adults in the photos of Julie Blackmon
Photography
A world without adults in the photos of Julie Blackmon
A world without adults in the photos of Julie Blackmon
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