Carta bianca is an interactive publishing installation.
People has the possibility to edit a unique booklet starting from a large selection of images spread out on a table.
Carta bianca needs the activation of the public to exist. It questions the author figure and the photographic language at the same time.
Reproductions of some books left by visitors during the Berlin event at EXP12 follow as documentation of the installation.
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Installation specifications:
8x4cm stickers, blank booklets, scissors, markers.
2011-2014.

Everything has to disappear – typical French expression for sales

Since a couple of years, I systematically record the restoration campaigns of architectural heritage. I started in Paris and I am slowly moving further.
I always use the same protocol: every photograph is taken on large format, in black and white before the sun rises. In an obtuse way, I apply an obsolete method to a subject which is at the same time current and anachronistic. It is the best fitting way to face this erasing work: any flaw, any sign of deterioration, any dirty layer is taken away.
I didn't want to record the clean and bright surfaces of the palaces, I rather prefer to photograph the scaffoldings. These silent presences – with their opaque and geometrical shapes – avoid to see the buildings' decoration.
Like Eugène Atget did with the old Paris, I produce some “documents for artists” in an obstinate and naive way; not to keep the traces of the ancient which is substituted by the modern, but to record these technological architectures – sometimes minimalist, sometimes spectacular – used to keep the ancient in place.
This restoration work is endless: thus, I will keep on document the dialogue between these white geometrical scaffoldings and the fine details of the façades.

60x80cm framed black and white prints

We were in salento, yet we didn't see the sea - collaboration with Silvia Cesari

Grecìa salentina, south of Italy. Some abandoned and fascinating buildings appear in this images. The documentary style is polluted by a silent presence: a figure wearing an orange dress. She's hiding, she adheres to the walls, she's uncomfortable, unexpected. Her presence re-activates these neglected places.

Collaboration with Silvia Cesari
In-Cul.Tu.Re. project.

Artist's book, 24 pages, 70x35 cm, offset, 1500 copies.

8 C-prints laminated on corrugated plastic, 300x200 cm.

The secret of art must, whenever possible, be unveiled
Marcel Broodthaers

It is an assessment. The observation of unexpected presences that undermine decors, that pop up on the marked route.
It's about being fascinated by this machinery working discreetly.
Senso della visita attempts to draw links, to underline the complexity of restoration, display and conservation policies. These domains often graze paradoxes, they face doubts and vacillate on difficult choices. They get layered and build history themselves; they linger between divulgation and deontology.
Showing a work about these issues has to take account of the conventions of the exhibition space. Senso della visita is made of two series of photographs, some motion pictures, pictograms and a brochure. Two pieces from the Jérôme de Vienne collection complete this inventory of elements that could be present or presented in a museum. Through this articulation, I provoke the encounter between different objects and ideas belonging to the same world – moreover I reverse their functions.

Framed photographs, loop videos on tablet, A4 booklet, transparent wallpaper, ready-mades. Variable dimensions.

Shake hands is about stock photos, the legal issues connected to them and its imaginary.

Stock photos provide a typology of images the more and more standardised. Their cheap prices and the wide possibilities of its use make them popular and widespread.
Every image is alike, they stack themselves, they get layered. Their production is industrial.

This phenomenon is under control of a complex legal system of contracts which is seldom ignored.
Shake hands tries to underline the importance of these texts written in a technical language and shown with a cryptic page layout.

In this book, the contracts are illustrated by images found in stock photos websites. This association undermines the industrial characteristics of stock photos questioning the specific and unique photographic image.

Incidentally, Shake hands rises questions about gender, ethnic and social representations that are embedded in some of this vernacular photography.

Photographs are meant to be unique: can they resist to this industrial production, to the evenness of meaning, to this overwhelming flow of images?

Shake hands
self-published
72 pages, A5
unlimited edition
2014