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65","alignment":"Center","meta_description":null,"description_enabled":false,"slideshow_show_caption_enabled":true,"hide_text_in_menu":false,"icon":"none","tags":[],"parent_id":"72b2275f-8835-405e-af9d-2a5a2a8b1d21","menu_representation":"page","viewer_backstory_enabled":false,"cover_media_fit":"contain","image_id":null,"slideshow_show_image_title_enabled":true,"video_autoplay":true,"cover_media_size":"L","cta_overlay":false,"description_content_html":null,"path":"projects/lorigine-della-resistenza/untitled-65","cover_text_color":null,"horizontalscroll_size":"M","index_text_layout":"Center","site":null,"index_grid_item_grow":false,"text_content1":{"ops":[{"insert":"L'ORIGINE DELLA RESISTENZA\nParaloup, Cuneo - Alpi Marittime, Italia (2013-2015)\n"},{"attributes":{"header":5},"insert":"\n"},{"insert":"[Si ringrazia l'INSMLI di Milano per le riproduzioni delle lettere presenti nel progetto] "},{"attributes":{"header":5},"insert":"\n"},{"insert":"\n\n\n\n"},{"attributes":{"italic":true},"insert":"\"Le lettere contengono la voce di un altro popolo; di uomini e donne, appartenenti a tutte le età e a ogni classe sociale, consapevoli del dovere della libertà e del prezzo ch’essa, in momenti estremi, comporta. Chiunque anche oggi le leggerà, vi troverà un’altra Italia e non potrà non domandarsi se davvero non ci sia più bisogno di quella voce o se, al contrario, non si debba fare di tutto per tramandarla e mantenerla viva nella coscienza, come radice da cui ancora attingere forza.\""},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"Gustavo Zagrebelsky"},{"attributes":{"align":"right","header":5},"insert":"\n"},{"insert":"[da “Lettere di condannati a morte della Resistenza italiana”, Einaudi Editore]"},{"attributes":{"align":"right","header":5},"insert":"\n"},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"“(…) Si sale. È una fiaccolata improvvisata, un Natale partigiano, lo si chiama così, un po’ scherzando. Partiamo da Chiot Rosa, con le torce, per illuminare i tornanti della montagna. Inseguiamo tra i sentieri di montagna un’utopia, quella della Resistenza, triste forse, consumata nel passato e senza tracce visibili nel futuro. Stento a immaginare il gruppo di giovani che il 12 settembre 1943, in questa stessa Valle Stura, diedero il via all’avventura partigiana che li condurrà, lungo questa strada, a Paraloup capitanati da Duccio Galimberti e Livio Bianco.”"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"header":5},"insert":"\n"},{"insert":"Antonella Tarpino"},{"attributes":{"align":"right","header":5},"insert":"\n"},{"insert":" [da “Spaesati”, Einaudi Editore] "},{"attributes":{"align":"right","header":5},"insert":"\n"},{"attributes":{"header":5},"insert":"\n\n\n"},{"insert":"Paraloup è oggi una borgata di poche baite di montagna, a 1400 metri di quota su un versante della Valle Stura, sopra Cuneo e facente parte del comune di Rittana. Un tempo utilizzata come appoggio dai contadini, durante i mesi dell’alpeggio, nel periodo della transumanza, viene progressivamente abbandonata del tutto quando, intorno ai primi anni ’60, aprono le prime fabbriche a valle e gli antichi mestieri della montagna vanno scomparendo, portando ad un vero e proprio processo di “desertificazione” e abbandono che verrà fronteggiato soltanto di recente, attraverso il recupero di luoghi e tradizioni. "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"Durante la seconda guerra mondiale, ospita e diventa la sede operativa e strategica (grazie alla stessa posizione geografica) della prima banda partigiana italiana \"Italia Libera\", che occuperà le baite allora diroccate di Paraloup fino al termine del conflitto bellico, con l’intento di combattere i tedeschi impegnati nella risalita dell’Italia."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"Recentemente la borgata è stata recuperata, grazie all’intervento della Fondazione Nuto Revelli, il quale combattè nella banda, raggiungendo Galimberti e Bianco nel febbraio del 1944, di ritorno dalla guerra di Russia."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"“Paraloup ora sembra uno strano prisma di passato, presente e futuro. Molte baite, è vero, appaiono disfatte: finestre vuote che rimandano al grigio-verde circostante, pietre franate che bloccano l’accesso. È il caso soprattutto del piccolo gruppo delle baite dei francesi, i Goletto trasferiti da tempo a Grasse. Mi sono abituata alla loro presenza incerta, giochi precari di vecchie pietre ostinatamente aggrappati alla terra. Altre baite sono in uno stato decisamente più integro, come quella che esibisce sulla parete una data, 1929, traccia forse di un antico intervento di ristrutturazione. Altre ancora sono in avanzata via di recupero: il grande fienile, (…) c’è la biblioteca, la sala conferenze, nel piano basso una piccola area per l’ospitalità. Nella baita del comando partigiano, il locale per la reception. Ultimato è anche l’ambiente a L del museo multimediale. Sí perché le baite di Paraloup torneranno a rinascere con l’impegno della Fondazione dedicata a lui.” "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"(cit. “Spaesati”, A.Tarpino)"},{"attributes":{"align":"right","header":5},"insert":"\n"},{"attributes":{"header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"“Forse – scomparsi dall’orizzonte i partigiani – è rimasto però il profilo austero delle baite a indicare la direzione giusta per scongiurare il naufragio che ci minaccia. Suggerendo un vocabolario inatteso che ci attrezzi al futuro: la potenza del fragile, la speranza nella memoria, il senso (così concreto in montagna) del limite troppo spesso varcato.”"},{"insert":" "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"(cit. “Spaesati”, A.Tarpino) "},{"attributes":{"align":"right","header":5},"insert":"\n"},{"attributes":{"header":5},"insert":"\n"},{"insert":"\nImpegnato, negli ultimi tempi, ad attraversare l’Italia per raccontare la realtà dei paesi abbandonati, ho raggiunto Paraloup risalendo probabilmente la stessa strada che, molti anni addietro, fu battuta dai primi partigiani, combattenti, persone “comuni” disposte a sacrificare la vita in nome della libertà. In quei giorni ho conosciuto uno degli ultimi partigiani ancora in vita, Lorenzo Bassignana, nome di battaglia “Primo”, che allora aveva 19 anni, esattamente settant’anni dopo, e mi è venuto spontaneo pensare ai diciannovenni di oggi, o più semplicemente ai miei diciannove anni. Poi ho pensato alle due Italie, quella di allora e quella di oggi. Nelle fotografie di questo antico alpeggio sulle montagne cuneesi, ho cercato di rintracciare simbolicamente le “origini” della Resistenza, lasciando ai luoghi il compito di raccontare ciò che hanno visto, mostrando inoltre le proprie attuali fattezze. A queste immagini ho voluto accompagnare la presenza di alcune lettere scritte dai condannati a morte della Resistenza italiana poco prima di morire. "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"Attraverso il potere visivo e narrativo della memoria storica, il progetto vuole esprimere l’importanza di non dimenticare, di tenere vivo il gesto, di estremo coraggio e altruismo, di queste persone. E che la riflessione sulla potenza di questo gesto e la necessità di non smettere mai di lottare, possa far nascere in noi il desiderio di reagire a questa Italia odierna."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"/lorigine-della-resistenza-foto"},"insert":"PHOTOGRAPHS"},{"attributes":{"header":5},"insert":"\n"},{"insert":"\n\n\n"}]},"rank":null,"slug":"untitled-65","row_description_alignment":"Center","site_id":"14673375-936f-4736-9467-98426d6b72b5","link_page_url":null,"subtype":null,"index_text_vertical_alignment":"Center","cover_media_navigation":false,"logo_disabled":false,"invert_colors":false,"part_of_stacked_page":true,"position":0,"text_vertical_alignment":"Center","description_content":{},"menu_id":"afd98059-29d6-4a1f-95ee-96b42f186a61","cta_label":null,"slideshow_transition":false,"imagegrid_align":"Center","content_size":"Default","id":"71976c2f-5119-45e2-9a33-9074906375fc","text_content2":{},"viewer_image_title_enabled":true,"index_caption_enabled":false,"cta_page_id":null,"homepage":false,"set_id":null,"viewer_size":"L","horizontalscroll_align":"Center","order_date":"2020-04-24T09:45:55Z","imagegrid_ratio_orientation":"Landscape","stacked":false,"imagerid_viewer_enabled":true,"imagegrid_columns":"M","parent":{"published":true,"horizontalscroll_layout":"Equalheight","published_at":"2020-04-24T09:44:19Z","text_media":"None","move":null,"online":true,"image":null,"hide_from_menu":false,"text_color":null,"imagegrid_layout":"Columns","menu":null,"horizontal_viewer_enabled":false,"children":null,"text_enabled":false,"index_text_media_size":"M","video_controls":false,"cover_text_size":"M","layout_direction":"column","cover_media_autoplay":false,"imagegrid_ratio":"1:1","slideshow_size":"M","video_loop":true,"horizontalscroll_gutters":"S","text_media_video_url":null,"cover_image":null,"child_ids":null,"cover_image_id":null,"type":"index","index_layout":"Text","set":null,"viewer_count_enabled":true,"slideshow_show_count_enabled":true,"content_text_size":"One","imagegrid_horizontal_align":"Justified","index_grid_item_width":"1/2","title":"L'origine 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56","alignment":"Center","meta_description":null,"description_enabled":false,"slideshow_show_caption_enabled":true,"hide_text_in_menu":false,"icon":"none","tags":[],"parent_id":"972e39a9-58fe-4f06-b6ae-037afc4dbbdc","menu_representation":"page","viewer_backstory_enabled":false,"cover_media_fit":"contain","image_id":null,"slideshow_show_image_title_enabled":true,"video_autoplay":true,"cover_media_size":"L","cta_overlay":false,"description_content_html":null,"path":"projects/beirut-postcards-from-the-present/untitled-56","cover_text_color":null,"horizontalscroll_size":"M","index_text_layout":"Center","site":null,"index_grid_item_grow":false,"text_content1":{"ops":[{"insert":"BEIRUT - Postcards From The Present\nBeirut, Lebanon (2018-2019)\n\n\n\n\n"},{"attributes":{"italic":true},"insert":"«Sept fois détruite et sept fois reconstruite ainsi que l’affirme la légende, Beyrouth se réveille tous les matins comme si elle venait de naître. Étrange ville qui semble avoir toujours vécu en ignorant superbement son passé, tout en refusant de se représenter son avenir."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"Et tout à coup, cette ville qui ne ressemble plus à rien à force de s’être immergée dans l’imaginaire des autres devient un lieu où se révèle à nous un des questionnements majeurs de ce début de siècle, déchiré entre globalisation uniformisante et replis identitaires: celui de notre capacité à imaginer, avant qu’il ne soit trop tard, des espaces ouverts à la pluralité des cultures et des appartenances, où l’expression des différences ne vienne pas, à chaque fois, remettre en cause les bases de la convivance.»"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"header":5},"insert":"\n"},{"insert":"Jade Tabet, Beyrouth. La Brûlure des Revês"},{"attributes":{"align":"right","header":5},"insert":"\n"},{"attributes":{"header":5},"insert":"\n\n"},{"insert":"\nThe perception of Time that someone has in Beirut, is somehow constantly altered. A suspended Space-Time dimension where Chronos and Kairos meet. A city that seems to live in a continuous loop of rebirth and death, like a phoenix that continues to rise from its ashes, oblivious to its past. A past that remains (perhaps not still for so long) perceptible while walking through its streets, but which is perhaps destined to disappear behind the feverish and incessant edification, regardless of the city's identity."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"The idea of producing \"postcards\" therefore refers to the \"banality\" of their aesthetics, without creating tourist or commercial images, and has the aim of acting as a means to tell the Present of a city represented through photographs that seem to deliberately forget of time, apparently suspended between re-enactments of its glorious past and scenarios of a post-apocalyptic future. In the title itself appears the word «Present», with the connotations of a (temporal) place, which evokes and encapsulates the concepts of Future and Past, as expressed in the philosophy of Saint Augustine, where the Past is “Present of the Past\" and embodies \"the Memory\"; the Present is \"Present of the Present\" and embodies \"the Vision\"; and where the Future is \"Present of the Future\" and embodies \"the Expectation\"."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"A portrait of the city emerges, constructed through the essential principle at the base of the idea of Memory and cultural identity, which oscillates by necessity between memory and oblivion."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"\n\n"},{"attributes":{"link":"/beirut-postcards-from-the-present-foto"},"insert":"PHOTOGRAPHS"},{"attributes":{"header":5},"insert":"\n"},{"insert":"\n\n\n"}]},"rank":null,"slug":"untitled-56","row_description_alignment":"Center","site_id":"14673375-936f-4736-9467-98426d6b72b5","link_page_url":null,"subtype":null,"index_text_vertical_alignment":"Center","cover_media_navigation":false,"logo_disabled":false,"invert_colors":false,"part_of_stacked_page":true,"position":0,"text_vertical_alignment":"Center","description_content":{},"menu_id":"afd98059-29d6-4a1f-95ee-96b42f186a61","cta_label":null,"slideshow_transition":false,"imagegrid_align":"Center","content_size":"Default","id":"728a54f7-ab4d-4871-a8c2-b24e0d1a1175","text_content2":{},"viewer_image_title_enabled":true,"index_caption_enabled":false,"cta_page_id":null,"homepage":false,"set_id":null,"viewer_size":"L","horizontalscroll_align":"Center","order_date":"2020-04-24T09:09:03Z","imagegrid_ratio_orientation":"Landscape","stacked":false,"imagerid_viewer_enabled":true,"imagegrid_columns":"M","parent":{"published":true,"horizontalscroll_layout":"Equalheight","published_at":"2020-04-24T09:08:23Z","text_media":"None","move":null,"online":true,"image":null,"hide_from_menu":false,"text_color":null,"imagegrid_layout":"Columns","menu":null,"horizontal_viewer_enabled":false,"children":null,"text_enabled":false,"index_text_media_size":"M","video_controls":false,"cover_text_size":"M","layout_direction":"column","cover_media_autoplay":false,"imagegrid_ratio":"1:1","slideshow_size":"M","video_loop":true,"horizontalscroll_gutters":"S","text_media_video_url":null,"cover_image":null,"child_ids":null,"cover_image_id":null,"type":"index","index_layout":"Text","set":null,"viewer_count_enabled":true,"slideshow_show_count_enabled":true,"content_text_size":"One","imagegrid_horizontal_align":"Justified","index_grid_item_width":"1/2","title":"Beirut - 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My parents were born and grown up in the South of Italy and moved to the North a couple of years before my birth. "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"Probably, that’s one of the aspects which mainly influenced my personal research in photography. What does it mean the word HOME? I got my first ‘camera’ (a plastic compact film camera, with a button for sound effects and color lights on the front, to take people by surprise…gorgeous, still have it!) when I was about 10 years old, for Christmas, without having any idea that I would have become a photographer later on. "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"At seventeen, I visited my first exhibition alone, intrigued by an article found in a magazine, and so I discovered the work of Stephen Shore thanks to an exhibition in Mestre, having no idea who he was. Growing up I experienced several things before approaching photography years later. I studied music and classic guitar at the conservatory since I was eight, playing in concerts or just around with an acoustic guitar. I joined a theater company for some years and I studied cinematography by myself while studying architecture at university. "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"I traveled a lot, often by car, and I remember, as a child, I was always totally absorbed watching outside, through the frame of the car window, as it was a kind of real movie. I visited many different places (and you don’t need always to take a plane to do it). "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"All this made me grow the desire to seek and show the inner beauty that is present in every single thing of this world, trying to broaden the cut on the veil of the surface. So I started making pictures, and I still haven't stopped."},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n\n\n\n"},{"insert":"CV"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Gianfranco Gallucci (b.1981) is an independent documentary photographer currently based in Venice and Milan. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"He started approaching photography as a self-taught photographer in 2004, after independent studies on cinematography, while majoring in architecture at university. He earned a Master's Degree in Architecture from the University of Ferrara in 2008, with a research thesis on photography and urban system analysis, titled “Introducing Photography - PHOTO (+) DATA/backup – A feedback for the contemporary city”, curated by Vittorio Savi. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Since 2010 he is involved in long term projects that focus on the role History, Memory and Culture play in contemporary societies often explored through a landscape and literary perspective. His work has been published in Italian and foreign magazines such as La Repubblica, L’Espresso, Domusweb, Urbanautica, Taz Berliner Zeitung, Monocle, Brand Eins, Mitbestimmung, Territorio, among others; and exhibited in several institutions including Triennale di Milano and MACRO Museum of Contemporary Arts in Rome."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"United Nations (Vienna headquarters) accredited photojournalist."},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n\n\n"},{"insert":"EDUCATION"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"2018 - MFA in Photography at Ulster University, Belfast, Northern Ireland, UK"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"2010 - Master in Photojournalism at ISFCI, Rome, Italy"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"2009 - Internship, as a recipient of the scholarship of European postgraduate program"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"“Leonardo Da Vinci”, at Agence VU’ Paris, France"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"2008 - Master's Degree in Architecture at University of Ferrara, Italy"},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n\n\n"},{"insert":"RESIDENCIES"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"In 2014 was invited by The Foundation of the First President of the Republic of Kazakhstan to work on a documentary project in the most remote areas of the South, on the Kazakh part of the ancient silk road."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"In 2013 took part in the “Naked City Project” campaign on the city of Rome; and “Confotografia”, a residency – documentary campaign on the territories of L’Aquila, the Italian city devasted by the earthquake in 2009. 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Aber das war nicht die Wahrheit”"},{"attributes":{"header":5},"insert":"\n\n"},{"insert":"TAZ Berliner Zeitung_Reise 23/24 februar 2013 (pg.32-33) _\"Arrivederci, Roma!\""},{"attributes":{"header":5},"insert":"\n\n"},{"insert":"Loop Magazine_Numero 18 / luglio-agosto 2012 (pg.64-77) _\"Naked City Project. Inchiesta su Roma ai tempi della crisi.\""},{"attributes":{"header":5},"insert":"\n\n"},{"insert":"Brand Eins Magazine_06 / 2012 (pg.124-127) _\"Eine Frau, die sich traut\""},{"attributes":{"header":5},"insert":"\n\n\n\n"},{"insert":"\nSELECTED CATALOGUES \n"},{"attributes":{"header":5},"insert":"\n\n"},{"insert":"FOTOGRAFIA Festival internazionale di Roma. Portrait - Quodlibet "},{"attributes":{"header":5},"insert":"\n\n"},{"insert":"L'ARCHITETTURA DEL MONDO. INFRASTRUTTURE, MOBILITA, NUOVI PAESAGGI. - Editrice Compositori"},{"attributes":{"header":5},"insert":"\n\n"},{"insert":"STORIE MINIME GRANDI STORIE. - Postcart Edizioni "},{"attributes":{"header":5},"insert":"\n\n\n\n"},{"insert":"\nSELECTED PRESS REVIEWS\n"},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://www.rozswietlamykulture.pl/reflektor/2016/11/09/niekonczaca-sie-opowiesc-rozmowa-z-gianfranco-galluccim/"},"insert":"Niekończąca się opowieść – rozmowa z Gianfranco Gallucci"},{"insert":" // reflektor, 2016"},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://www.lifeforcemagazine.com/aug2016/index_10.htm"},"insert":"A Serbian Limbo"},{"insert":" // Life Force Magazine, 2016."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"https://www.pascalinemarre.com/Gianfranco-Gallucci"},"insert":"Gianfranco Gallucci, photographier les invisibles"},{"insert":" // Pascaline Marre, 2016 "},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://www.loeildelaphotographie.com/fr/2016/03/12/article/159894580/gianfranco-gallucci-main-street-presevo-serbia-refugees/"},"insert":"A Serbian Limbo"},{"insert":" // L'Oeil de la Photographie, 2016."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://www.domusweb.it/en/photo-essays/2015/12/15/gianfranco_gallucci_images_from_kazakistan.html"},"insert":"Images From Kazakhstan"},{"insert":" // domus, 2015."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://www.formagramma.com/photography/22976/images-from-kazakhstan-gianfranco-gallucci/"},"insert":"Images From Kazakhstan"},{"insert":" // Formagramma, 2015."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://www.loeildelaphotographie.com/2015/02/21/the-eye-of-readers/27350/gianfranco-gallucci-images-from-kazakhstan"},"insert":"Images From Kazakhstan"},{"insert":" // L'Oeil de la Photographie, 2015."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://www.dw.de/%D1%83%D0%BA%D1%80%D0%B0%D1%97%D0%BD%D1%86%D1%96-%D0%B2-%D1%96%D1%82%D0%B0%D0%BB%D1%96%D1%97-%D0%BC%D1%96%D0%B3%D1%80%D0%B0%D0%BD%D1%82%D0%B8-%D0%BE%D1%87%D0%B8%D0%BC%D0%B0-%D1%96%D1%82%D0%B0%D0%BB%D1%96%D0%B9%D1%81%D1%8C%D0%BA%D0%BE%D0%B3%D0%BE-%D1%84%D0%BE%D1%82%D0%BE%D0%B3%D1%80%D0%B0%D1%84%D0%B0/a-17970651/"},"insert":"YOU ARE WELCOME (Interview)"},{"insert":" // Deutsche Welle, 2014."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://fear-memory.tumblr.com/post/105589112620/documentary-photographer-gianfranco-gallucci/"},"insert":"Interview"},{"insert":" // Fear&Memory (project), 2014."},{"attributes":{"header":5},"insert":"\n\n"},{"insert":"Images From Kazakhstan // Stand Quarterly, 2014."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://fotoroom.co/kazakhstan-gianfranco-gallucci/"},"insert":"Images From Kazakhstan"},{"insert":" // FotoRoom, 2014."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://www.phasesmag.com/images-from-kazakhstan/"},"insert":"Images From Kazakhstan"},{"insert":" // PhasesMag, 2014."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://www.loeildelaphotographie.com/2014/03/29/the-eye-of-readers/24552/gianfranco-gallucci-you-re-welcome"},"insert":"YOU ARE WELCOME"},{"insert":" // L'Oeil de la Photographie, 2014."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://urbanautica.com/review/gianfranco-gallucci-youre-welcome/655"},"insert":"YOU ARE WELCOME"},{"insert":" // Urbanautica, 2014."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://ilgiornaleoff.ilgiornale.it/2014/01/12/la-materia-grezza-di-gianfranco-gallucci/"},"insert":"La materia grezza di Gianfranco Gallucci"},{"insert":" // ilgiornaleOFF, 2014."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://www.urbanautica.com/post/62992441529/gianfranco-gallucci"},"insert":"Gianfranco Gallucci. The language you talk"},{"insert":" // Urbanautica, 2013."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://www.artribune.com/2013/06/gianfranco-gallucci-e-la-polaroid-con-liphone-pero/"},"insert":"Gianfranco Gallucci e la Polaroid. Con l'iPhone però"},{"insert":" // Artribune, 2013."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://www.nationalgeographic.it/fotografia/2012/07/11/foto/in_mostra_le_polaroid_scattate_con_l_i-phone-1144399/1/"},"insert":"In mostra le polaroid scattate con l'i-phone"},{"insert":" // National Geographic Italia, 2012."},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"http://espresso.repubblica.it/style_design/fotogalleria/32060502"},"insert":"Roma, in una storia d'amore"},{"insert":" // L'Espresso, 2012."},{"attributes":{"header":5},"insert":"\n"},{"insert":"\n\n\n"}]},"rank":null,"slug":"untitled-16","row_description_alignment":"Center","site_id":"14673375-936f-4736-9467-98426d6b72b5","link_page_url":null,"subtype":null,"index_text_vertical_alignment":"Center","cover_media_navigation":false,"logo_disabled":false,"invert_colors":false,"part_of_stacked_page":true,"position":0,"text_vertical_alignment":"Center","description_content":{},"menu_id":"ef1e53b4-ccb7-49ee-9983-ce0bb430856e","cta_label":null,"slideshow_transition":false,"imagegrid_align":"Center","content_size":"Default","id":"09006910-e7e2-4046-a6b1-4daa904d8bab","text_content2":{},"viewer_image_title_enabled":true,"index_caption_enabled":false,"cta_page_id":null,"homepage":false,"set_id":null,"viewer_size":"L","horizontalscroll_align":"Center","order_date":"2020-04-23T10:16:42Z","imagegrid_ratio_orientation":"Landscape","stacked":false,"imagerid_viewer_enabled":true,"imagegrid_columns":"M","parent":{"published":true,"horizontalscroll_layout":"Equalheight","published_at":"2020-04-23T10:00:43Z","text_media":"None","move":null,"online":true,"image":null,"hide_from_menu":false,"text_color":null,"imagegrid_layout":"Columns","menu":null,"horizontal_viewer_enabled":false,"children":null,"text_enabled":false,"index_text_media_size":"M","video_controls":false,"cover_text_size":"M","layout_direction":"column","cover_media_autoplay":false,"imagegrid_ratio":"1:1","slideshow_size":"M","video_loop":true,"horizontalscroll_gutters":"S","text_media_video_url":null,"cover_image":null,"child_ids":null,"cover_image_id":null,"type":"index","index_layout":"Text","set":null,"viewer_count_enabled":true,"slideshow_show_count_enabled":true,"content_text_size":"One","imagegrid_horizontal_align":"Justified","index_grid_item_width":"1/2","title":"Publications","alignment":"Center","meta_description":"Gianfranco 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63","alignment":"Center","meta_description":null,"description_enabled":false,"slideshow_show_caption_enabled":true,"hide_text_in_menu":false,"icon":"none","tags":[],"parent_id":"159a6d34-259f-4213-996f-6234e9b7bc8c","menu_representation":"page","viewer_backstory_enabled":false,"cover_media_fit":"contain","image_id":null,"slideshow_show_image_title_enabled":true,"video_autoplay":true,"cover_media_size":"L","cta_overlay":false,"description_content_html":null,"path":"projects/a-serbian-limbo/untitled-63","cover_text_color":null,"horizontalscroll_size":"M","index_text_layout":"Center","site":null,"index_grid_item_grow":false,"text_content1":{"ops":[{"insert":"A SERBIAN LIMBO\nPreševo, Serbia (2015)\n\n\n\n\n"},{"attributes":{"italic":true},"insert":"This work depicts the situation I found in Preševo (a small town near the border with Macedonia, in the province of Pčinja, Southern Serbia) during the first days of October 2015. The day I arrived, it was raining and continued to rain incessantly in the following days too. People waited in a long queue for several hours, tired, hungry, sleepy, with their feet in the mud and their luggage in tow, before entering the camp. The only protection, provided by the few institutions present, were ponchos and plastic sheets that covered the line here and there, while a lucky few took shelter under their umbrellas. The flow of people was almost continuous, arriving even ten thousand refugees a day."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"In Preševo everything takes place along a suburban street of this little village, near the train station. A road about one kilometer in length, a place of arriving and departure, a Limbo, on which refugees spend a few days to be identified and registered, coming from the nearby crossing border. Some by foot, some by bus, from Miratovac, they reach the beginning of this road partially closed and whose flow is controlled by the police. Once they arrived, they walk through the street towards the camp, where they receive the permission card to leave Serbia (within a time limit of 72 hours since the release, after which it takes on the obligation of applying for asylum in Serbia). After that, they can leave by bus towards the Croatian border."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"The center, only for identification and registration procedure and for medical assistance in case of need, is managed, with Doctors Without Borders and the Red Cross of Serbia, by the officers of UNHCR, responsible for operations in the center together with the Ministry of Internal Affairs of Serbia. These were the only institutions on site. The only other associations, composed by few foreign volunteers, were unfortunately too small and no adequate to face the crisis, despite their commendable commitment and constant presence."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"This street is like a small town isolated from the rest of the village and, except very few residents, most of them turned out to be basically cold and inhospitable. This situation has probably worn out and annoyed local people, whose attitude, even if not justified, is due more to the almost total absence of institutions and the issue that Europe completely washed its hands of, leaving Serbia alone, than to refugees themselves. Therefore, residents from Preševo, did nothing but reacting to the status quo, taking advantage of the situation by creating a business on the exodus, while it lasts. After all, the same has been made a bit everywhere, from the Middle East to the \"rich\" West."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"The refugees, in fact, did not receive any food, water, or tents by the institutions. So, they had to buy everything on site. Those without their own tent spent the night in makeshift shelters as basements of houses under construction, entrances, or rooms offered illegally by the residents for a fee and against Serbian law prohibiting the reception of refugees without permission. Finally, only ground and mud remained for those who, lying down upon plastic sheets, could not find or afford any other accommodations."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"No information system has been organized, through boards in Arabic, Fārsì, Urdu, English, along the way. So, in addition to fatigue and hunger, was added the loss resulting from not knowing what to do once arrived. It has been tried to activate at least a word of mouth, especially to prevent to fall in the tricks of the local criminal organization as taxis for illegal transportation of persons without permission to Sid or Belgrade towards the border with Croatia, for astronomical fares; or whom, close to the bus, was selling fake permission card to leave Serbia at 20€ each, in addition to the 35€ per person for a ticket of the bus trip to Sid, that each refugee regularly had to pay. All buses were managed by local private companies or by single bus owners, who traveled night and day, back and forth from South to North, continuously carrying the refugees as Charon from side to side of Serbia."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"/a-serbian-limbo-foto"},"insert":"PHOTOGRAPHS"},{"attributes":{"header":5},"insert":"\n"},{"insert":"\n\n\n"}]},"rank":null,"slug":"untitled-63","row_description_alignment":"Center","site_id":"14673375-936f-4736-9467-98426d6b72b5","link_page_url":null,"subtype":null,"index_text_vertical_alignment":"Center","cover_media_navigation":false,"logo_disabled":false,"invert_colors":false,"part_of_stacked_page":true,"position":0,"text_vertical_alignment":"Center","description_content":{},"menu_id":"afd98059-29d6-4a1f-95ee-96b42f186a61","cta_label":null,"slideshow_transition":false,"imagegrid_align":"Center","content_size":"Default","id":"37b23aec-c439-4609-9332-6e3c1fc0d638","text_content2":{},"viewer_image_title_enabled":true,"index_caption_enabled":false,"cta_page_id":null,"homepage":false,"set_id":null,"viewer_size":"L","horizontalscroll_align":"Center","order_date":"2020-04-24T10:33:39Z","imagegrid_ratio_orientation":"Landscape","stacked":false,"imagerid_viewer_enabled":true,"imagegrid_columns":"M","parent":{"published":true,"horizontalscroll_layout":"Equalheight","published_at":"2020-04-24T10:33:16Z","text_media":"None","move":null,"online":true,"image":null,"hide_from_menu":false,"text_color":null,"imagegrid_layout":"Columns","menu":null,"horizontal_viewer_enabled":false,"children":null,"text_enabled":false,"index_text_media_size":"M","video_controls":false,"cover_text_size":"M","layout_direction":"column","cover_media_autoplay":false,"imagegrid_ratio":"1:1","slideshow_size":"M","video_loop":true,"horizontalscroll_gutters":"S","text_media_video_url":null,"cover_image":null,"child_ids":null,"cover_image_id":null,"type":"index","index_layout":"Text","set":null,"viewer_count_enabled":true,"slideshow_show_count_enabled":true,"content_text_size":"One","imagegrid_horizontal_align":"Justified","index_grid_item_width":"1/2","title":"A 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So I moved here and she reached me a few months later. When I arrived, it was a kind of an amazing stroke, hit daily by an enormous visual amount of stimulus, and my first reaction, to metabolize all this, was to start taking pictures of it. One year later, I bought my first smartphone and I found out an application made by Polaroids for iPhone who produces digital polaroids. "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"It started by chance, as a personal, unconscious and totally irrational needing to react to all that amount of stimulus, letting all the things to call my attention asking me to be photographed. "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"It was always something extremely natural, an instantaneous act of recording without thinking, just following the flow, but even without any awareness. "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"Just after some time, while saving these images, I realized that I was \"showing\" the city in almost all its aspects so I kept going on with the same neutral approach, till I felt that Rome had nothing more to tell me. In some way, it was a sort of courtship between me and the city. Using a phone, and not a polaroid camera, I had the possibility to make pictures without being seen. I've never looked for the things I photographed, and through the desire to disappear, in some way I became a simple recorder, letting the city talked of her by herself."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"This work is not only a portrait of the eternal decay of Rome, inside which are represented the outlines of the new idea of \"Roman spirit\" today, through exploded fragments recomposed then in the mind of each viewer. But It is also the attempt to be a kind of provoking act towards the current society of images in which we live, showing the displacement of the popularisation of the act of taking photographs by everyone, on the phone, using the format of the classic polaroid, considered the analogue instant photography for excellence, through its uniqueness, but made with a phone, digital and reputed \"endlessly reproducible\". Guided, therefore, by an ethical and provoking choice, images are strictly without any post retouching by myself and are printed on fine art paper rigorously in a single copy each one, as the analogue ones."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"align":"right","header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"Rome, Italy. 2012"},{"attributes":{"align":"right","header":5},"insert":"\n"},{"attributes":{"header":5},"insert":"\n"},{"insert":"\n\n"},{"attributes":{"link":"http://www.artribune.com/2013/06/gianfranco-gallucci-e-la-polaroid-con-liphone-pero/"},"insert":"Gianfranco Gallucci e la Polaroid. Con l'iPhone però"},{"insert":" // Artribune, 2013."},{"attributes":{"header":5},"insert":"\n\n\n"},{"attributes":{"link":"/roma-polaroids-foto"},"insert":"POLAROIDS"},{"attributes":{"header":5},"insert":"\n"},{"insert":"\n\n\n"}]},"rank":null,"slug":"untitled-66","row_description_alignment":"Center","site_id":"14673375-936f-4736-9467-98426d6b72b5","link_page_url":null,"subtype":null,"index_text_vertical_alignment":"Center","cover_media_navigation":false,"logo_disabled":false,"invert_colors":false,"part_of_stacked_page":true,"position":0,"text_vertical_alignment":"Center","description_content":{},"menu_id":"afd98059-29d6-4a1f-95ee-96b42f186a61","cta_label":null,"slideshow_transition":false,"imagegrid_align":"Center","content_size":"Default","id":"9232e5a5-06dc-4f8e-ac86-9ebd9b183812","text_content2":{},"viewer_image_title_enabled":true,"index_caption_enabled":false,"cta_page_id":null,"homepage":false,"set_id":null,"viewer_size":"L","horizontalscroll_align":"Center","order_date":"2020-04-24T10:50:51Z","imagegrid_ratio_orientation":"Landscape","stacked":false,"imagerid_viewer_enabled":true,"imagegrid_columns":"M","parent":{"published":true,"horizontalscroll_layout":"Equalheight","published_at":"2020-04-24T10:50:37Z","text_media":"None","move":null,"online":true,"image":null,"hide_from_menu":false,"text_color":null,"imagegrid_layout":"Columns","menu":null,"horizontal_viewer_enabled":false,"children":null,"text_enabled":false,"index_text_media_size":"M","video_controls":false,"cover_text_size":"M","layout_direction":"column","cover_media_autoplay":false,"imagegrid_ratio":"1:1","slideshow_size":"M","video_loop":true,"horizontalscroll_gutters":"S","text_media_video_url":null,"cover_image":null,"child_ids":null,"cover_image_id":null,"type":"index","index_layout":"Text","set":null,"viewer_count_enabled":true,"slideshow_show_count_enabled":true,"content_text_size":"One","imagegrid_horizontal_align":"Justified","index_grid_item_width":"1/2","title":"Roma 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48","alignment":"Center","meta_description":null,"description_enabled":false,"slideshow_show_caption_enabled":true,"hide_text_in_menu":false,"icon":"none","tags":[],"parent_id":"f7d81b70-ef1c-4faa-a832-d66e85d1ca17","menu_representation":"page","viewer_backstory_enabled":false,"cover_media_fit":"contain","image_id":null,"slideshow_show_image_title_enabled":true,"video_autoplay":true,"cover_media_size":"L","cta_overlay":false,"description_content_html":null,"path":"where-water-comes-together-with-other-water/untitled-48","cover_text_color":null,"horizontalscroll_size":"M","index_text_layout":"Center","site":null,"index_grid_item_grow":false,"text_content1":{"ops":[{"insert":"WHERE WATER COMES TOGETHER WITH OTHER WATER\nOświęcim, Poland (2015-2018)\n\n\n\n"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"italic":true},"insert":"This is a story about history and memory, a story without a plot, a contemporary tale about a place named Oświęcim. The town raised at the confluence of two rivers, Soła and Vistula, between the X and XI century. Located on a border zone in the South-West of modern-day Poland, was for centuries under the control of many reigns, and changed often its name, also in its German version, Auschwitz. In the second half of the XIX century, it became an extremely renowned center with a big Jewish community, that peacefully coexisted with the Catholic one, earning the epithet of \"Jerusalem of Oświęcim\". "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"Before telling this story, I wasn't aware of the term Auschwitz, historically, represented the German version of the polish name Oświęcim. That they were simply two different names of the same place. I thought, like everyone else without a deep knowledge of this, that it was exclusively the name of the most famous extermination camp of the world, and moreover, I didn't know anything about the existence of a town named Oświęcim."},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n\n"},{"insert":"This project represents the first chapter of a trilogy about Memory and Time, - by the definition of Time in Saint Augustine philosophy - to underline the pivotal position of the Present as the only «place» where everything happens, in relation, in this case, with the idea we have about History and how we deal with our \"Past\", defined as \"The Present of the Past\" and corresponding to the element of «Memory». Therefore History is the first instrument, presented here in this chapter, as something we should learn to use in order to better manage our Present."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"When I was a child at the primary school, I visited the \"Risiera di San Sabba\" in Trieste (Italy), a rice factory, converted by Nazis in a concentration and extermination camp during the Second World War. Despite its small size and with only one crematory, the vivid image of the place and the story told us by the guide, created a persistent memory that accompanied me throughout my life. When I approached photography years later, I promised myself that one of my works would be on the issue of the Shoah. But when I started working on it, I realized that producing further images of what was once extermination camps to talk about this, was not the best solution for me. I probably needed to free myself from the legacy of that childhood memory, and I had the opportunity to do it, thanks to this work. I needed to forget and, reflecting on it, I thought that photography could help me in doing this. I realized that this medium lets people forget too. "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"- Not to forget entirely, but by remembering differently.- So I decided that the only way to talk about this was actually without doing it, and to show it from a completely different perspective. To make a mirror out of our contemporary society as a way to acknowledge the existence of the event even if not showing any trace of it photographically. It is not in the form of a geographical, political, or historical perspective, but simply temporal. Looking at the past from the perspective of the present moment shows how the past is not detached from us, but extremely contemporary, and how History and Memory represent those tools able to depict the Present as the only place in which everything confluences and exists. Rather than talking about Shoah \"directly\", it was better to reflect on Memory and History today. "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"From these premises I started reflecting about the symbolic meaning and the relation of the two terms Auschwitz and Oświęcim. I realized that to the world, the first was well known and uniquely associated to the most tragic event of our recent history, actually its \"punctum\"; while the second was almost unknown to everyone."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"Therefore, a first intention was to relieve this town from the negative mark of the Past, which existed due to the handful of years of Nazi occupation, showing it as it is, a normal place, with an ordinary life, as everywhere else, and the perfect mirror for each of our backyards. I wanted to restore the cultural dignity and the right fame to a town that for too long has carried the burden of a mark for which it has no fault, and show how life always continues and survives close to \"death\". The second aim was to use this symbolic place in order to talk about something wider. To have the opportunity, through this special \"case history\", to reflect on the role of History and Memory in current day society, revealing the pivotal position of the Present in all the things that deal with Time. Showing how these two elements are extremely alive and contemporary and how they must be preserved to continue to be fundamental tools for the future of society."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"header":5},"insert":"\n\n"},{"insert":"( The first research phase of the project started in 2015 and led to the production of an essay and a photobook work in 2018. All the material that I personally collected and elaborated from public and private archives, as result of the initial research phase and during the realization of the photo work in the two long stays in 2016 and 2017, has been presented in the form of a web documentary, completed in 2020. It represents an online archive, potentially expanding, concerning the story of this place named Oświęcim. The archive materials consist of: private family album snapshots; old and new postcards; historical archive photos of the town; old objects belonging to a private museum; Google search images of the word «Oświęcim»; a book of poems by an author from the town; and the scans of a survey that I wrote and distributed to the citizens, in order to have an idea of their relation with the presence of the most famous concentration and extermination former camp of the world in their town. In addition, using the same questions of the survey, exist also some video interviews that I recorded with some residents. )"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"link":"/where-water-comes-together-with-other-water-foto"},"insert":"PHOTOGRAPHS"},{"attributes":{"header":5},"insert":"\n"},{"insert":"\n\nHere the official website of the project: \n"},{"attributes":{"link":"https://www.thecontemporaryguidetooswiecim.com"},"insert":"THE CONTEMPORARY GUIDE TO 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Portrait]"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"\n\n\n\n-\"Immigrant\" is one who moves to another country, leaving their land, because driven by the need for better living conditions. - "},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"insert":"\"Eh! Integration is a big word! Eh! The integration is still a concept, a bit far, for me it takes many, many years before this happens. For me, integration is yet to come. There are still many people who say that we should better stay at home. They say: What are they doing here, where there is not a job even for us, and all these things..\" "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"(an immigrant)"},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"attributes":{"italic":true},"insert":"Between 2010 and 2013 I searched and met 18 extraordinary, even common, persons. The project \"You're Welcome\" tells the story of these persons. The only thing they have in common is Rome, coming each one from a different country, every one with his/her own story, and now living all here, in the Italian capital. I took three portraits for each person. One in their house, where they live surrounded by their most intimate and personal things, objects and memories; the other one at work, showing their real and concrete contribution to the society; and the third one, even if without the subject inside, that represents a further portrait of themselves, showing their most beloved and favorite place in Rome. Italy is a country where the integration is not at all completely realized, most of all socially, in the mentality of the people. I wanted to show how richer and wonderful is a multiethnic society, where each person brings his/her contribution, and lives with all the rights and duties, like everyone else. I narrated these stories, to tell, for once, a positive story about immigration, about people who left their \"homes\", leaving everything, and fortunately, they got something better."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"When I decided to develop a project about immigration, I was confronted immediately with the vastness and complexity of the issue. My reflection started with the desire to understand which was my intimate relationship with this topic, from my point of view of \"Italian citizen\". Which had been, till today, my attitude towards immigrants and immigration (apart from having lived my childhood in a small town where immigrants were not almost present at that time, to be son of southern Italian immigrants, moved to the north, and to be born and grown up in a land that was not one of my parents)? I think that too many people, and not only in Italy, have never asked this question, or perhaps more simply, we just forgot too quickly from our Past, of emigrant people. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"I did not know what I could say or tell about it, being able to say many things and nothing at the same time. The phenomenon of immigration is often associated with the media to individual episodes of anonymous negative realities, re-proposed in the television space information daily, which end up creating only prejudices and stereotypes against those who, for the simple fact of having left their country looking for a better way of life, later become the 'carriers' of a series of negative judgments that do not concern them in the life of every day. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"In the end, I chose to tell the stories of these persons; eighteen stories, which have in common only the fact of coming from a country other than Italy and living in Rome with the hope of building a better future. I photographed each of them at home and at the workplace, with staged portraits that would tell something about them and their condition. I portrayed their favorite places in the city, getting a visual mapping of the same, according to their point of view. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"The stories I have heard, recorded and later told, are very different from each other. Each one carries with it, the image of a country, and culture, different from our own, and the combination of all these stories is a credit to the extraordinary wealth potential that resides in a multi-ethnic society. I avoided the stereotypes socio-economic context of the Roman society, where certain ethnic groups or populations, for cultural heritage or particular dynamics of the market, have \"monopolized\" some sectors of the labor market. It’s the example of Romanians, mostly employed in the construction industry or of Bengali, in the bazaars or phone centers. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"My meeting with each of these stories, happened almost by accident, after having studied and identified the decisive nationalities on the Roman territory in recent years. Based on studies and statistics, drawn up by the various organs of expertise, I pointed out that migration flows are changing, even massively, for socio-economic-cultural reasons, from year to year or cycles of 5-10years and can even distort completely the previous situation. Therefore, this project is located in a very precise temporal context by referring to the current situation of migration on the Roman territory. 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Having ceased the only reason why I had moved to Rome a long time ago, leaving, and moving elsewhere, was for me the most natural choice. I wanted to stay on my own, far from everything and immerse in the wild of nature, in a simple and quiet place, far from and tired of the confusion of the big city, in a sort of wonderful retreat. And here indeed I was born again. The sea healed me, I found peace, reconnecting to my Self, with the one I was at 18 before going at University, starting embracing again all the things I used to do at the time and that I had left behind there along the path. In the Summer, some months after my arrival, I've fallen in love again, of myself, of this place and of a delicate woman named Anna. I stopped smoking after twenty years, and I started again playing music and doing many other things. I started listening to my soul and now we're walking together."},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n\n"},{"insert":"IL RITORNO is the tale of the two years I spent there. It consists of three works:"},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"attributes":{"color":"#bbbbbb","link":"/nostos-lultima-sigaretta-foto"},"insert":"NÒSTOS L'ultima sigaretta"},{"attributes":{"color":"#bbbbbb"},"insert":" - I "},{"attributes":{"header":5},"insert":"\n"},{"insert":"is about the place, which I talked to and spent a lot of time with, and that I tried to portray as It was a person. A place I can call \"home\", and that was the scenery of the experiences I lived."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#bbbbbb","link":"/mare-e-rosso-foto"},"insert":"MARE E ROSSO"},{"attributes":{"color":"#bbbbbb"},"insert":" - II "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"is about my romance with Anna, and is based upon the relation between the sea and the sensual intimacy of love. The title comes from a gift she gave me on our first Christmas together, with inside two cups for us, one blue and one red."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#bbbbbb","link":"/the-man-who-defeated-buffalo-bill-foto"},"insert":"THE MAN WHO DEFEATED BUFFALO BILL"},{"attributes":{"color":"#bbbbbb"},"insert":" - III "},{"insert":" "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"is about the experience of growth I lived but is also a tribute to the local hero whose story I discovered by chance in the last months before leaving. So I amused creating a narrative structure that, loosely based on his story, let me use his character to mix both and tell my own experience. You can read the story of Augusto Imperiali "},{"attributes":{"link":"https://it.wikipedia.org/wiki/Augusto_Imperiali"},"insert":"here"},{"insert":" (Italian, no English ref.). [Bibliography: L.Vellucci 'I Butteri, Buffalo Bill, Il West. 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The pictures of this series show the interiors of some of the houses damaged by the earthquake of 2009 in Onna, a little town near L'Aquila, the most destroyed of all towns."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"Showing the current conditions of these houses, i wish to remind, that after long time, they're still there, as a proof of the tragedy lived by these people. I wish that, looking at these images, everyone tried to imagine your own house in these conditions. The title would be also a reminding to all those who could do something to give back to the people who lost their houses, a new true one, and not instead a temporary wood house that could probably become a permanent one."},{"attributes":{"align":"justify","header":5},"insert":"\n"}]},"menu_id":"afd98059-29d6-4a1f-95ee-96b42f186a61","cta_label":null,"slideshow_transition":false,"imagegrid_align":"Center","content_size":"Default","id":"591c7bdb-c1b2-4413-82c1-b95ad88f288d","text_content2":{},"viewer_image_title_enabled":true,"index_caption_enabled":false,"cta_page_id":null,"homepage":false,"set_id":"3fc1226d-7699-4ba0-8d37-566084738b29","viewer_size":"L","horizontalscroll_align":"Center","order_date":"2020-04-24T15:19:33Z","imagegrid_ratio_orientation":"Landscape","stacked":false,"imagerid_viewer_enabled":true,"imagegrid_columns":"M","parent":{"published":true,"horizontalscroll_layout":"Equalheight","published_at":"2020-04-24T11:54:49Z","text_media":"None","move":null,"online":true,"image":null,"hide_from_menu":false,"text_color":null,"imagegrid_layout":"Cover","menu":null,"horizontal_viewer_enabled":false,"children":null,"text_enabled":false,"index_text_media_size":"M","video_controls":false,"cover_text_size":"M","layout_direction":"column","cover_media_autoplay":false,"imagegrid_ratio":"5:4","slideshow_size":"M","video_loop":true,"horizontalscroll_gutters":"S","text_media_video_url":null,"cover_image":null,"child_ids":null,"cover_image_id":null,"type":"index","index_layout":"Grid","set":null,"viewer_count_enabled":true,"slideshow_show_count_enabled":true,"content_text_size":"One","imagegrid_horizontal_align":"Justified","index_grid_item_width":"1/2","title":"ARCHIVE","alignment":"Center","meta_description":"Gianfranco Gallucci (born 1981) is an Italian photographer, whose work predominantly focuses on the role History, Memory, and Culture have in current societies.","description_enabled":false,"slideshow_show_caption_enabled":true,"hide_text_in_menu":false,"icon":"none","tags":null,"parent_id":"231bff2a-ba68-420e-9124-5c3065196368","menu_representation":"page","viewer_backstory_enabled":false,"cover_media_fit":"contain","image_id":null,"slideshow_show_image_title_enabled":true,"video_autoplay":false,"cover_media_size":"L","cta_overlay":false,"description_content_html":null,"path":"others/archive","cover_text_color":null,"horizontalscroll_size":"M","index_text_layout":"Center","site":null,"index_grid_item_grow":false,"text_content1":{},"rank":null,"slug":"archive","row_description_alignment":"Center","site_id":"14673375-936f-4736-9467-98426d6b72b5","link_page_url":null,"subtype":null,"index_text_vertical_alignment":"Center","cover_media_navigation":false,"logo_disabled":false,"invert_colors":false,"part_of_stacked_page":false,"position":-1744830464,"text_vertical_alignment":"Center","description_content":{},"menu_id":"afd98059-29d6-4a1f-95ee-96b42f186a61","cta_label":null,"slideshow_transition":false,"imagegrid_align":"Center","content_size":"Default","id":"fd7bf7e7-4b39-4b87-b639-56ad23fda5f0","text_content2":{},"viewer_image_title_enabled":true,"index_caption_enabled":false,"cta_page_id":null,"homepage":false,"set_id":null,"viewer_size":"L","horizontalscroll_align":"Center","order_date":"2020-04-24T11:54:49Z","imagegrid_ratio_orientation":"Landscape","stacked":false,"imagerid_viewer_enabled":true,"imagegrid_columns":"M","parent":null,"imagegrid_caption_enabled":true,"text_image_enabled":false,"description_alignment":"Left","menu_disabled":false,"imagegrid_gutters":"S","cta_url":null,"tag_ids":[],"index_text_size":"M","background_color":null,"browser_title":"ARCHIVE | Gianfranco Gallucci","summary":{},"updated_at":"2020-05-04T10:40:52Z","slideshow_ratio":"4:3","text_columns":"One","content_size_type_text":false,"horizontalscroll_caption_enabled":false,"inserted_at":"2020-04-24T11:54:49Z","slideshow_show_backstory_enabled":false,"viewer_caption_enabled":true},"imagegrid_caption_enabled":false,"text_image_enabled":false,"description_alignment":"Left","menu_disabled":false,"imagegrid_gutters":"S","cta_url":null,"tag_ids":[],"index_text_size":"M","background_color":null,"browser_title":"Ti ricordi della mia casa? 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Italy (2011-2013)"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":" "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":" "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"The theme of the abandonment, of once inhabited places, immediately recalls the concept of historical memory and the importance of recovering the memory of the past. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Very popular in the italian landscape, in recent years some of these \"former places\" are living a process of revitalization and repopulation by people who choose to get away from the \"non-places\" of global cities, sometimes with radical choices in life - as in the case of the return to the mountains. In other cases, institutions or bodies such as UNESCO protect them along with the social realities that still partly inhabit them, considering them a World Heritage Site as \"receptacles\" of history, and documents the living forms of life and"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"culture of the past. In still other cases they represent an opportunity for the present, linked to their physical regeneration, which would bring considerable benefits to the economy from a touristic point of view.  These are places linked to the great world wars that were fought on our territory, such as those found in our mountains of the North, or rural centers abandoned in the fields of the Po Valley, evidence of an economy and a society that does not exist more, or of entire ghost towns of southern Italy, abandoned due to natural disasters or gradual depopulation linked to the great migrations to North or abroad in the last century. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"I chose to tell the story of three towns, one in the north, one in the centre and one in the south. Each of them represents a different type and a trace of transformations and trauma that our country has experienced in its unit history, and that perhaps we bring in our emotional universe, even if we do not notice. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#5a5a5a"},"insert":"Paraloup, "},{"insert":"a town of scattered houses, on the maritime alps, over the mountains of the province of Cuneo, is the place where during the Second World War, was formed the first band of partisans \"Italia libera\", thanks to Duccio Galimberti, Livio Bianco, and Nuto Revelli. The township consists of stone huts and wooden roofs, once support of the shepherds to the pasture during the summer months, it was occupied by the partisans during the war until the year of liberation. Finally abandoned when the mountain underwent the process of depopulation due to the opening of the first factories in the valley, lives on today thanks to the intervention of architectural salvage implemented by the Foundation Nuto Revelli."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"The second town, in central Italy, is Onna, l’Aquila. Destroyed by an earthquake in 2009 and years later partially forgotten by the institutions, is partially kept alive thanks to its inhabitants who are now living in the new part, consisting of the M.A.P. (temporary housing modules) built in front of the ruins, facing a grotesque daily memory of the tragic event. The choice of Onna wanted to shed light on the issue of \"current\" abandonment, combining it as a complaint of non-compliance of the State in dealing with realities that are created as a result of natural disasters, but the results of which are then difficult to manage within decent and acceptable deadlines by those in charge (see the example of the earthquake in Irpinia, the adopted territorial management policies and the decades population lived in the containers)."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"The third and last town, Craco, in the province of Matera, Basilicata, is about the reality of the abandoned villages of southern Italy. This medieval town, has reached our days, passing through different historical periods. The village was abandoned massively since 1963, due to a landslide that caused the collapse of a half of it. In the following years it was then gradually abandoned definitively, until the last inhabitant who seems to have abandoned his home in the last years of the last century. Due to the landslide, a first settlement was built adjacent to the current old part and then another, Craco Peschiera, down in the valley, where the main part of the population was transferred. Today the site of the old Craco, is managed by its municipality and has joined the World Monument Fund, an organization that protects the historical places as the same as UNESCO. Over the years several movie productions have been made there using it as a perfect set, such as \"Cristo si è fermato a Eboli\" by F. Rosi, \"Il sole anche di notte\" Taviani brothers, or “Ninfa plebea” by L.Wertmüller, up to in more recent productions such as \"The Passion\" by Mel Gibson or \"Basilicata Coast to Coast\" by Rocco 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Il nome del primo viene da Mount Palomar, il famoso osservatorio astronomico californiano. Il nome del secondo è quello di un progetto di trivellazione della crosta terrestre che se venisse realizzato porterebbe a profondità mai raggiunte nelle viscere della terra. I due personaggi avrebbero dovuto tendere, Palomar verso l’alto, il fuori, i multiformi aspetti dell’universo, Mohole verso il basso, l’oscuro, gli abissi interiori. Mi proponevo di scrivere dei dialoghi basati sul contrasto tra i due personaggi, uno che vede i fatti minimi della vita quotidiana in una prospettiva cosmica, l’altro che si preoccupa solo di scoprire cosa c’è sotto e dice solo verità sgradevoli."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"Solo alla fine ho capito che di Mohole non c’era alcun bisogno perché Palomar era anche Mohole: la parte di sé oscura e disincantata che questo personaggio generalmente ben disposto si portava dentro non aveva alcun bisogno di essere esteriorizzata in un personaggio a sé."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"Rileggendo il tutto, m’accorgo che la storia di Palomar si può riassumere in due frasi: “Un uomo si mette in marcia per raggiungere, passo a passo, la saggezza. 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