A social journey to explore small and unique remote communities is what unites photographers Carlo Bevilacqua, Keila Guilarte, and Gianluigi Di Napoli. At different moments and independently, the three photographers come into contact with small groups of people living in unfamiliar realities, driven by the desire to tell stories of distant societies and territories. With three different perspectives, the result is a cross-cultural narrative account, an ethical image that delves into the social dimension and its identities. The three projects converge and interact in the photographic exhibition EVERYBODY TALKS, curated by Patrizia Madau and open until October 31st at Galleria Lampo in Milan (Scalo Farini). Let’s find out more about these projects and the communities the three photographers have met.

Carlo Bevilacqua’s Captured Alternative Communities

Carlo Bevilacqua, a photographer renowned for his socio-anthropological research, presents a selection of shots taken from his projects over the past five years in various parts of the world. These projects have materialized into two wonderful photographic books: “Utopia, dreaming the impossible” and “Into the silence, Eremiti del terzo millennio.” Bevilacqua’s work explores contemporary utopian communities worldwide, focusing on alternative, spiritual, artistic, hippie, and environmental communities. He seeks to define the meaning of “utopia” in the present era and documents how these communities have dealt with the pressure of dominant culture. Another significant theme in his work is the narration of Queer communities, particularly relevant in India, Mexico, and among Native North Americans.

A Journey Between Morocco and Cuba by Keila Guilarte

Keila Guilarte‘s photographs come from a visual reportage conducted between Cuba and Morocco from 2017 to today. Guilarte, who has always explored issues of identity and social belonging, presents artistic images capturing the daily life and beauty of people and places in Maghreb communities. Strong and contrasting lights, colors, and shadows take center stage in these shots, narrating the identity of a people. Simultaneously, there are images depicting Cuban life, connected to the photographer’s photographic memory and childhood. The exhibited photographs, part of her first book “Mi Tierra,” discreetly lead the viewer into the daily intimacy of the Cuban community and the inexhaustible energy of its people, who maintain their identity despite profound and painful cultural changes.

The Circus World Through Gianluigi Di Napoli’s Eyes

Gianluigi Di Napoli captures the authenticity of the circus world in an intense visual journey under the big tent, known as “lo chapiteau.” His photographs tell the ritual of the show and the importance of the body’s identity within the circus community. The circus is a world with a strong identity and belonging, where artists share spaces, jargon, emotions, and common memories. The artist has worked on this theme for over ten years, resulting in photographic books such as “Circus Life – Everynight, all around the World” and “A Poet in Action, David Larible.” In his latest project, “Nel cuore di Saltimbanco. Viaggio sotto la pelle del Cirque du Soleil,” he documents the evolution of traditional circus and the spectacular entry of artists into the world of Cirque du Soleil.

The exhibition is realised by Tallulah Studio Art in collaboration with Associazione Formidabile and Galleria Lampo.

Calypso Mahieu, class 1993, is graduated from ECAL/University of Art and Design of Lausanne and now she is working between France and Switzerland as a freelance photographer.

Her work is both elegant and erotic and the light is the heart of her photography. Calypso first discovered photography through women’s magazines — she was fascinated by the light, the bodies, and the attitudes rather than the fashion itself.  

The light is her secret weapon and nudity and eroticism has become essential to her aesthetic. She is passionate by the light because it can destroy or sublime a picture very easily. It’s like a game for her to build the light around the person or the object she’s shooting. Cinema’s lights, romantic sunset light of the South of France, desk light and many others can be a source of inspiration and are important in her process of photographing.

A selection from her best works below.

Text by Giordana Bonanno

In an era characterized by the uncontrollable proliferation of digital images, selfies, and the widespread use of filters that distort the perception of the contemporary world, photographer Federico Hurth captures an authentic portrait of youth, but one that is burnt out. His project, titled Wasted Youth, is a true reportage, or as Federico himself describes it, «a personal photographic diary in which I collect snapshots of carefree moments.» His strictly analog shots depict faces, bodies, and situations, always following «a damned, fashionable, artistic, musical aesthetic.» In Federico Hurth’s shots, the melancholy and inner rebellion of a generation emerge. Some of the shots from the project, which Federico has been working on since 2021, will be exhibited at the Doppia V Gallery in Lugano from October 20th to November 17th, in an exhibition curated by Francesca Bernasconi.

Federico Hurth’s photographs are devoid of any post-production manipulation, «if a photo has a flaw, I keep it that way. Precisely to maximize the authenticity of the moment,» the photographer tells us. Wasted Youth offers a glimpse into fragments of youthful lives lived intensely but, at the same time, in a way that may seem “wasted,” in line with the title of his project. The aesthetic, which oscillates between the glitter of glamour and the darkness of decay, reflects the complexity and uncertainty that the contemporary context offers to young people, who are at the mercy of looming precariousness.

In conclusion, quoting the words of curator Francesca Bernasconi, «Federico Hurth’s photographs are characterized by an intriguing immediacy and an instinctive and decisive formal exploration, strongly linked to the revolutionary aesthetics that emerged in the 1990s through the work of a generation of photographers, often, like Hurth, straddling the worlds of fashion and alternative artistic scenes.»

Courtesy Federico Hurth

We attended the unveiling of Lavazza’s new calendar, a project that takes us into an uncharted Africa, brimming with energy, experimentation, and a forward-looking spirit influenced by its culture and the diverse communities that inhabit it. Three photographers collaborated on this year’s calendar: Thandiwe Muriu from Kenya, Aart Verrips from South Africa, and the latest addition, Daniel Obasi, whom we had the privilege to interview. The theme of Africa as the birthplace of coffee remains strong, linked to the Giuseppe and Pericle Lavazza Onlus Foundation, founded in 2004 and now involved in thirty-three projects across three continents. With Nigerian roots and a holistic approach to photography, Daniel Obasi is a creative talent who seamlessly blends fashion styling, cinema, photography, and art direction to create captivating and distinctly African narratives. Here’s our interview with him.

How did you first get into photography?
I started photography because of my background in design, and for a while, I also dabbled in fashion styling. That’s when I got into photography. Additionally, I had an eye for certain subjects, and the practice of photography attracted me in a unique way. Working with other people was often challenging for me, so I decided to learn how to take photos on my own to share my exact vision with the world. For me, it’s more about a concept and an idea, which is at the core of my holistic approach to creativity.

How do you manage to blend art direction, fashion photography, and your work as a director?
By approaching each practice in a holistic way and considering them as one, it’s easier to navigate. I don’t think of them as separate components but rather focus on the end goal.

How do you apply Afrocentrism to fashion photography? Can it be seen as the primary vehicle for promoting messages of inclusivity and cultural appreciation?
Absolutely. The concept of Afrocentrism and photography go hand in hand, and in this context, we can also recognize fashion as an art form. Moreover, you can see how it’s all connected to a certain cultural background. There’s also another aspect that brings a bit of your history into it. Of course, it’s not what’s needed in every shot, but in some cases, it gives you a good idea of the process behind the photos I take.

How did you accept the commission for Lavazza’s calendar project?
On an ordinary day, I received an email from Lavazza’s team. I waited for a week and then decided to propose the concept of working together, of unity. Everything started from the photos that depicted the young people together on the beach. I’m a big fan of simplicity, and sometimes the most astonishing images come from the simplest ideas. These images, which centralize the theme, are, in my opinion, the most powerful because beneath all those layers, the simple idea of working as one shines through.

What are your primary sources of inspiration in photography, cinema, and fashion?
My inspiration always changes depending on where I am. Currently, I’m more interested in architecture and composition, so I’m trying to improve the way I use space. I’m studying Bauhaus, Gothic architecture, and the movement. Additionally, choreography and contemporary dance – actually, all forms of dance – are a significant source of inspiration for me. Love, the idea of being loved, losing love, and being in love also fascinates me greatly at this moment.