good morning to you
I am very happy to be here when
I was in high school
I had a friend who was fencing
he was an athlete who trained at that
national a very nice and his chest
right hand was definitely bigger
of his left hand this because
since he was a child every day like
a drop on the stone was training in
asymmetric way the hand of John me
it came to mind one morning not so much
time ago waking up I thought about it
who knows how the photography the
making photography for 30 years has changed
my body and above all my way
to think when photographer happens to me
a special thing , my beautiful
mind becomes fine and quiet, and you
develops a kind of bridge that makes me
able to grasp the reality of the thing
that I have in front of which makes me capable of
extract images that are very much
specifications that they can describe
very well the thing that I have in front of him
but at the same time they are also
of the images that are going to awaken
a deep part of me that go like
to reveal the truths that I much
often I can understand only later
because in my thought
my words arrive a little later
we could say that the difference more
great that there is a speech made
with the words that are not words
as if they were pearls of one
necklace and a speech made with the
photography what tells us the
photography just this that the
photography is as if it freezes
the intuition we have of that
what allows us to take us home
arci after and it’s a big thing one
revolution of thought in this
day dedicated to beauty and how
we can all try to
restore the value of beauty and
also use beauty to awaken
what we care for and to give it
value we can not forget a book
very important for us photographers that
it is called the beauty in itself
photography is a book was written
by a gentleman called robert adams
who said many things but said one
very special thing that has the strength of
an image he says that the etymology
Persian of the word paradise is a
decentralized site and robert a says in
bottom also framing not place
fenced we could say that the framing
is the photographer’s paradise thanks to the
in fact, photographer is successful
precisely to steal a piece of the world and
of space manages to take it away
and this subtraction he does at the bottom
it’s what allows you to take off
this piece from a memory
undifferentiated that has so well
described borges in his wonderful
ireneo funes an undifferentiated memory
that without this subtraction would be one
waste deposit
and thanks to this subtraction
thanks to the fact that I can commit
a series of insights that I can
think therefore we could say that
the most important difference of the
photography is precisely this building
an image through a kind of
stratification of meaning
the photographer chooses what to take
the way you choose it can vary
because
it depends on the relationship he has with him
time the relationship he has with
the irruption that the case makes inside
of his framing are photographers
that ‘s like playing tennis
they have to catch a ball on the fly there
they are photographers who instead are as if
throw staff and do not know
well what they will pull up are
photographers who lurk and must
wait to wait for some to arrive
what can reveal to him what
they are looking for and then there are
photographers waiting for you
because it is precisely the duration of time
as long as they want to register but
wanting to get to the bottom of this
necklace of words I would like to tell you that
which for me is a visual synthesis
so much is there an image that I stole in
these days in Venice and the image
taken from an epigraph that recalls a man
died at the end of a long life that i
his loved ones have decided to remember with
a summary that somehow summarizes
with an image with the power of a
image the sense of visual synthesis
sure that all these arguments that
I make the sense that photography
for me on how photography has
changed my mind by developing
of the parts by atrophying the others on
as I interact with the scene too
changing how some physique has well
demonstrated as my own observation
go and change the scene until you get there
to the paroxysm of being a projector of
reality all these things that the
photography has given me in these
thirty years to here I owe a lot because
I am what I am
for these things I had the
Possibility of
deepen leave me however a
doubt an important main question
and it’s ok but if all this is needed for me
what is the use of the world for me to be one?
photographs the most ie and more in general a
what is needed today in the spring of
2017
in an era when photography from
attention tool has become a
way to not be present to ours
present in which he takes pictures before
look here is not shown before
see what sense it has today that there are
of professional photographers yet one
today value photography for some
way to climb into this reasoning
then I would take another step back and forth
I would like a little bit to explain you specifically
what my job consists of
I ‘ve been shooting space for thirty years
and let’s say that my work would have one
great vocation to be simply
a reduction because to reduce a space
within a frame it seems
absolutely a reduction because not
it is
it must be an interpretation and
why it’s an interpretation or things
that I have tools because
this interpretation both says that I
may overlap levels of
thought when I go
interpret and therefore very often I have to
I must also study gods
centuries that have centuries in which they are
changed the representation codes
of architecture I have to do all this
let me explain what the implication implies
I have a project of architecture
translate the idea that the architect has
transferred to the work that I am
looking more I’m representing
But I must be able to do all this
without all this knowing everyone
these thoughts all these things that
I have to study they go like a noise
of the left side of my brain a
prevent me from building the bridge of which
I need to go to photograph
to go and tell with an image
this thing I need the light to be
to command my work in some
so I need to understand to leave
speak the thing that I am in front of me
asked so many times if what I did
I do a way or if there is one
question that is asked of me by things
that I’m photographing if there is one
way to photograph that is more appropriate
of others if this choice is more if it is
more just
also with respect to the idea that it has generated
the work and with respect to time, that is, if
there is a way in which things there
they ask to be photographed but
let’s go back to the main question now
a long time ago, I spoke in ten years ago
machine and listened to listening to the radio
welcomed as the power of an image
a fragment of a transmission in which
it was said that the company controls the
individuals one of the ways in which the
society controls individuals to do
believe them that systemic problems
have an individual solution while
these are systemic problems that do not
can be solved individually
that can only be solved a
systemic level because it means
also collectively all together
then I thought but then I did everything
what I do to behave well
to do well the things I do too
ethically I mean the whole path that
I do to leave a better world
of what I found maybe not enough
it does not make sense
maybe I have to take one more step
maybe I have to change the container and
so I thought I want to be there
fuse is obviously I had to do it using it
what I can do by doing what I know
do
so I started as a first action a
mix the way I work with
that of the report then not to
think that photographing spaces and
photographing people are two kinds
photographs that are distinct but can
be two parts of the same
explanation of the same story I
started working with isabella whale
on Jerusalem and then subsequently with
an orsenigo sheet with which I worked and
lived for twenty years
isabella we have developed a
important project to tell the i
values and disvalues of the plan
landscape of Sardinia
the landscape plan that has earned it
come an extremely important award
of the European Union and its head
governor for what happens happens
that if I want to defend a territory
from the aggression of a tourist market
very violent and I do it to the sound of
laws and decrees does not work because the
model of the emerald coast entered
so strongly in the mind of the
people who are no longer simply there
speculator who does a crap but it is
even the individual who has to make one
little house makes a mess because his
model became that there then
I’m going to do a cultural action I go
to bring culture like gods
infiltrations when you have an arm that
does it hurt
I do it in a capillary way or the
model the wrong one wins and then
I thought that photography can
just serve to go inoculate
this this new way of thinking but
that we must find a way to do it is
a new idea that needs to be understood
to run must also compare with
others for this then in 2009 following
of the eagle earthquake
we have armed a great project
calling together all the young people who
they had young photographers we had
formed in the courses of the university of
architecture of Venice and we have
tried in ten were about ten
photographers we worked for a year and
go to fill with the huge distance
among what we saw is that
that we were told that it was one
shameful thing absurd and above all
to use the theme of this disaster of
a city that no longer exists
to make people understand what
it means as a friend says it has
said nicoletta a dear friend
aquilani what it means to be orphans of
a city live in a place that has
lost its historical center its
the hall on all its sites
from the libraries no longer have any
identifying place at the level
collective and then we did then
this very important show that is
first of all in venice a
ducal palace and then shot in others
places making sure none of
we sign on his photographs why
it was a tribute to the eagle but we have
discussed together a lot on how
build this project
let’s say we made a group of
I work all together
we have produced this last work
a work of four years ago
that was born together with a shared idea
with roberto sartori and antonio di cecco
still work on the eagle to wear
50 photographers at the eagle and have them work
side by side
everyone with a citizen this because
if I consider photography of
landscape is destined not
to the American who has to send the
postcards but to awaken the value of the
common good in the inhabitants of that place
it is clear that the only possibility that
I have to put together the expert look
trained by a photographer with his eyes
close up of a citizen so that
they can feed each other and been
a truly special experience we have
worked together for a week i
photographers have discussed between work of
content method
the citizens have nourished a lot
this process and I think they are
been fed but it’s too much a project
great for a group of photographers of
beautiful hopes we are very beaten
but we did not manage to involve them
institutions those same institutions
that fill the mouth of the word
participation and do not think that the
culture is fundamental as it is
necessary to bring back the culture and that yes
he knows photography as a visual culture
be a necessary tool to go
to talk about participation and
landscape and this is the big bet
that photography can come back to being
useful and that a photographer can work
for something more than an exhibition in
a gallery that can show us
something more than his navel when
photographs the landscape that all together
we can think that culture too
the visual one
is a nourishment that is fundamental
is that this to close again with a
thought of Robert Adams that the
photography can buy back his
reconciliation value allows us to
reconcile us with these places
disfigured of this landscape
wonderful in which we live and can
allow us to say all together
I’m happy to be here thanks
[Music]
[Music]
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