2019  –  10/10  –  25/10

Fotopia Collective Festival

Muzeul de Artă din Cluj-Napoca

Piața Unirii 30 – Cluj-Napoca – Romania.

Trapped in Belgrade

by Francesco Pistilli

In derelict warehouses behind Belgrade’s main bus station, up to 1500 migrants are trying to survive the freezing Serbian winter in crumbling buildings with broken windows, no electricity, no heating, or water. They are stuck in a “sub-zero” Limbo, waiting for a new life in Europe. Inside these buildings the air is thick with smoke because several makeshift fires. The dark smoke renders the visibility to only a few meters, but the darkness is pierced by the sounds of people coughing. Europe’s forgotten refugees are dying of cold, in asylum limbo. Thousand homeless migrants line up for a meal distribution. They get only one meal per day from an aid organization. This temporary citizens-from-nowhere are living their nomad existences in the the rubble of the so-called Belgrade “Waterfront” construction project. They sleep, cook and eat directly on the warehouse floor and wash their self outside at freezing conditions as severe winter weather sweeps across Serbia.

Frozen Identity

by Erik Messori

Stateless, a grey passport citizen. You go to sleep as a citizen and wake up the next morning as a foreigner in the country where you have lived your whole life. In the 1950s the Soviet government sent millions of people to the outskirts of the USSR to expand local workforces. Whole new industrial towns were raised in north-eastern Estonia at places such as Kohtla-Järve, Narva, Sillamäe and Avinurme. People of all professions – mainly blue-collar mine workers but also specialist engineers from all over the Soviet Union were sent there to work. After the USSR’s collapse in 1991 some 25 million ethnic Russians were left outside the borders of their homeland. In the words of a popular propaganda song “my address is not the street name and the house number, my address is the Soviet Union“, so when communism fell, those people lost their home and the legal status of a citizen. The paradox was that many of these people had been born on Estonian SSR territory and lived there all their lives but the actual nation they were growing up in was the USSR. Today a quarter of Estonia’s 1.3 million population, or 330,000 people, are its Russian community. And 7.5 per cent of the population, or about 100,000 people, are now considered stateless citizens in Estonia.


2019  –  10/05  –  26/05

IMP Festival

Cattredale ex Macello

Via Alvise Cornaro 1 – 35128 Padova – Italy.

Guided Tours and Talks: 

24/05 at 3.00 p.m. Alessandro Vincenzi
24/05 at 5.00 p.m. Erik Messori

Talks : 

25/05 at 8.00 p.m. CAPTA Collective
Cattredale ex Macello
Via Alvise Cornaro 1 – 35128 Padova
26/05 at 6.00 p.m. Magnum-Prospekt-CAPTA
Palazzo del Monte di Pietà
Piazza Duomo 14  – 35128 Padova

    

Independence on the skin

by Erik Messori

Occupation, nationalism and struggles with identity plague world history. In Ireland in particular, hundreds of years of British rule – which some claim to be the world’s longest war of occupation – have produced generation after generation of independent-minded Irish who have fought for their national identity. Their names are linked to infamous organisations such as the IRA and other pro-independence associations. Despite the fact that an official truce is in place, some of these women and men maintain the fight to achieve their dream of independence. A recurrent dream for which Irish men and women have fought during the Easter Rising, a six days armed rebellion that had its one-hundredth anniversary in April 2016. Their tattoos tell the painstaking story of their lives, fallen friends and past actions. Their bodies bear indelible writings of an ideal and the human price of its pursuit. Every drop of ink under their skin carries the memory of ancestors and comrades who died in this invisible war. Much has been written about them, especially during the seemingly endless attacks of the seventies and eighties, and they are generally considered terrorists and subversives but little is really known about them. This photographic account is an insight into their world and proof of their determination to continue to fight for what they say will be an Ireland they can call their own.

Forgotten Italians

by Alessandro Vincenzi

In 1830 and 1870 two migratory fluxes from Italy arrived in Kerch, Crimea. They were mainly farmers, seamen and shipyard workers from Puglia, attracted by dreams of a better future in unexploited and fertile lands. More Italians arrived at the beginning of the 20th Century as encouraged by the Russian Imperial authorities to develop agricultural activities mainly in grape cultivation. During the 30’s, due to various forms of repression, many Italians fled and ended up moving back to Italy, finding in most of the cases a tragic destiny. At the same time, the Catholic Church built by the Italians in 1840 was closed. Private lands were expropriated to create a Kolkhoz and during the Stalin purge many Italians were accused to be Italian spies and therefore arrested, tortured, deported or executed. On January 28th 1942 the Italian families still living in the Kerch province were given two hours’ notice to pack a maximum of eight kilograms of their belongings before being deported to Kazakhstan. The agony of the journey, mainly in wagon trains, lasted two months. Many died on the way before reaching the destination; survivors recall that the dead bodies were abandoned at train stations along the way. Such was the shock, that after 76 years many people still refuse to remember that moment. Today in Kerch there is a community of almost 300 people that assure to be descendants of Italians. In 2015 the Russian authorities have recognized them the minority status of deported and persecuted people.


2018  –  03/11  –  10/11

at Spazio MAW

Via Morrone 71 – 67039 Sulmona  –  Italy.

Vernissage, 03/11 from 5.30 pm.

 

Trapped in Belgrade

Trapped in Belgrade is part of the refugees and migrants project “Lives in Limbo” started by Francesco eight years ago.  The image of the Afghan boy sleeping in an abandoned wagon next to Belgrade’s main railway station was chosen by Time Magazine’s editors as one of the best 100 images of 2017.  This story won the second prize in the category “Editorial photo essay/story” at the International Photographer of the Year Awards in 2018 and the third prize of the general news stories nominated in this year’s World Press Photo Contest. The tightening of the so-called Balkan Route into the European Union left thousands of refugees stranded as they attempted to travel through the country to seek a new life in Europe.  Many spent the freezing Serbian winter in derelict warehouses behind Belgrade’s main railway station. The buildings were crumbling with broken windows, no electricity, no heating, or water. They were stuck in a “sub-zero” Limbo.  Inside those buildings the air was thick with smoke because of several makeshift fires. The dark smoke rendered the visibility to only a few metres, but the darkness was pierced by the sounds of people coughing.  Europe’s forgotten refugees were dying of cold, in an asylum limbo.


2018  –  25/05  –  20/06

at Gallerie QF

Via Carducci 9 – 14 -29  – 37129 Verona  –  Italy.

Vernissage, 25/05 from 7.00 pm.

    

Identity

The collective CAPTA presents IDENTITY:
a project focused on photojournalism, articulated through a photographic exhibition accompanied by a vernissage and a workshop to be held at the end of the photographic exhibition. The selection covers the most important reportages made in recent years by the members of CAPTA, around the theme of IDENTITY. The exhibition includes work that is illustrative of both medium and long-term projects and focuses on some of the highlights of recent history with the aim of recovering the sense of photojournalism: to investigate and analyze contemporary society. Only a planned and reasoned vision can effectively achieve this goal. The collaboration of photographers and journalists guarantees the production of high-quality reporting. Created through a unifying concept and inspired by a harmonious vision of visual storytelling, the team seeks to address the complexities of world culture, history and society. A media world increasingly obsessed with the speed of disclosure is no longer able to preserve the quality of stories and messages. CAPTA’s modus operandi is to document our world in depth and tell forgotten stories. In particular, the exhibition presents a selection of images with themes related to identity from across contemporary societies. The common denominator is the ability of these pictures to make the viewer re ect on contemporary realities both near and far, often ones that appear unfamiliar or not susceptible to easy comprehension.

Gallery QF1:  INDEPENDENCE ON THE SKIN by Erik Messori

Gallery QF2: FORGOTTEN ITALIANS by Alessandro Vincenzi
SEX TRAFFICKING IN EUROPE by Mashid Mohadjerin

Gallery QF3: LIVES IN LIMBO:TRAPPED IN BELGRADE by Francesco Pistilli Galleria QF3


Ph. Mashid  Mohadjerin

 

2018  –  17/05

at Museum of Modern Art

Leuvenstraat 32, 2000 Antwerp – Belgium

Vernissage, 17/05 from 7.30 pm.

 

Memories of a revolution, a performance

Poetry reading by Maryam Najd, kamanche by Mostafa Taleb, santoor and music by Shahriar Sharifpour. Performances from two spaces. Put together by: Mashid Mohadjerin. For her latest photographic work she for the first time traveled back to her country of birth, Iran, in search of childhood memories. In the LODGERS space, she is showing a selection of images that she describes as a visual rediscovering of her country. Government representations of resistance, war and revolution are mixed with images of a new generation of women in public space, including a portrait of herself carrying flowers to her grandmothers grave. Photographic work in the space by Geert Goiris and Vijai Patchineelam Exhibition coordination by Nico Dockx Project supported by ARIA, KASKA, MUHKA

more info


2018  –  10/03  –  08/04

Perugia Social Photo Fest

Museo Civico Palazzo della Penna

Via Prospero Podismi 11 – 06121 Perugia  –  Italy.

Vernissage, 10/03 from 6.00 pm.

      

Human Pups

“Who let the pups out?” Human pups, or people who dress up and act like playful puppies, are rapidly growing in numbers and confidence, spreading from the underground world of gay leather bars and bondage into a new and more mainstream “pup community”. Thousands of people around the world don dog-like hoods, tails and leather or rubber suits to indulge in puppy play and perhaps the most active puppy scene is in Britain, where organizers claim there are now up to 10,000 pups and handlers. Once confined to gay men, this “lifestyle hobby” is being taken up by women and straight men who are chasing non-sexual fun and relaxation. The author of the world’s only academic paper on puppy play, Liam Wignall of Sunderland University, says there has been a “fascinating shift from the original emphasis on dominance and submission towards a new focus on fun and escapism.” We speak to pups and their handlers, sexologists, psychologists, and businesses involved in the world of human pups.

Text by Peter Wilson


2018  –  03/03  –  16/03

at ISOLAB

Isolab Spiazzi – Castello – 3865 Venezia  –  Italy.

Vernissage, 03/03 from 6.30 pm.

Identity

The collective CAPTA presents IDENTITY:
a project focused on photojournalism, articulated through a photographic exhibition accompanied by a vernissage and a workshop to be held at the end of the photographic exhibition. The selection covers the most important reportages made in recent years by the members of CAPTA, around the theme of IDENTITY. The exhibition includes work that is illustrative of both medium and long-term projects and focuses on some of the highlights of recent history with the aim of recovering the sense of photojournalism: to investigate and analyze contemporary society. Only a planned and reasoned vision can effectively achieve this goal. The collaboration of photographers and journalists guarantees the production of high-quality reporting. Created through a unifying concept and inspired by a harmonious vision of visual storytelling, the team seeks to address the complexities of world culture, history and society. A media world increasingly obsessed with the speed of disclosure is no longer able to preserve the quality of stories and messages. CAPTA’s modus operandi is to document our world in depth and tell forgotten stories. In particular, the exhibition presents a selection of images with themes related to identity from across contemporary societies. The common denominator is the ability of these pictures to make the viewer re ect on contemporary realities both near and far, often ones that appear unfamiliar or not susceptible to easy comprehension.


2016 –  02/04  –  01/05

at PALAZZO dei PRINCIPI

Correggio – Reggio Emilia  –  Italy.

Opening Saturday, 02/04 from 5.30 pm.

Print size 1500×1000 mm

Chernobyl_Presente_E-2           Chernobyl_Presente_E-3           Chernobyl_Presente_E-4

Chernobyl Presente

The most terrible technological accident of human history knows: Chernobyl, once an unknown place in the rich land of the Ukraine. Now a single chilling word that still casts a dark shadow of death and contamination. Twenty years after the disaster that struck Europe, the tragedy continues. Many people live in villages close to the nuclear plant in conditions at the edge of human survival. The damage is still very much in evidence. Everywhere, in this area called THE ZONE, there is the burdensome heritage of disaster and everything still remain in total silence. The Chernobyl accident generated unknown victims by effects, it is impossible to know how many people dead for the consequences. The issue of long-term effects of Chernobyl disaster on civilians is controversial. Over 300,000 people were resettled because of the accident; millions lived and continue to live in the contaminated area. On the other hand, most of those affected received relatively low doses of radiation, there is little evidence of increased mortality – cancers or birth defects among them – and, when such evidence is present, existence of a causal link to radioactive contamination is uncertain.


2016 –  04/02  –  23/04

at RBG BARN Gallery

43B Rosemary StreetBelfast BT1 1QB – Northern Ireland

Opening Thursday, 04/02 from 6-9pm.

Print size 594×420 mm

logo.red barn gallery_b

Independence on the Skin

Occupation, nationalism, and struggles with identity plague our world’s history. In Ireland in particular, hundreds of years of British rule – which is argued to be the longest war of occupation in the world – has produced generation after generation of independent-minded Irish who have fought for their national identity. Their names are related to infamous organisations, such as the IRA and other pro-independence organizations. Even if there is a treaty of truce, these women and men remain in the fight to achieve their dream of independence.

Their tattoos tell the painstaking story of their lives, fallen friends, past actions. Their bodies bear indelible writings of an ideal and the human price paid to conquer it. Every drop of ink under their skin carries the memory of ancestors and comrades who died in this invisible war. Much has been written about them, especially in the seventies and eighties, during a series of attacks that seemed to never end, and in the collective conscience they are considered to be terrorists and subversive, but little – or almost nothing – is really known about them. This photographic account is an insight into their world, and it serves as a proof of adamant willingness to not give up, but to continue to fight for an Ireland that they will be able to cal their own.


2015 –  05/12 – 12/12

at SIEM REAP Gallery  –  Cambodia

as selected work for the Angkor Photo.

Angkor Log

Weird Animals

When it comes to creativity and recycling, besides being useful, it is also always fascinating and interesting. Maybe this is the reason why I share the phrase “Once, old and broken things were not being throw away, but were repaired.” Before being thrown away and replaced by something new, these pieces that are considered recyclable were once owned by people who gave them use and a life. Unfortunately, it is now a common behaviour among all of us to replace things with something new. However, some people are doing everything possible to try and recover the damage that has been done, and is still being done, to our planet.

L’Animalada is an example of creativity and positive thinking. This is a series of animals created by Sandra Sarda Cabero, which combines three different worlds – waste reduction, recycling of materials, and retrieving objects. Driven by the passion for the game, and the reaction when it is introduced into the public space, the need to create and look for aesthetic correspondence between the recovered and/or found objects and animals.

The result has several interpretations, but the most satisfying and poetic is how Sandra’s work gives these objects a new life. They return to the life cycle; metaphorically, as the first level and most genuine, and also to the natural world, from where everything, toxic or not, is returned. Weird Animals has the ambition to talk about the importance of recycling by addressing the issue in an unusual way.


2015 – 06/06 – 31/07 

at Can Basté – Barcelona

as a selected work for DocField international documentary photo festival in Barcelona.
Print Size 150×100 cm

download_b

Weird Animals

When it comes to creativity and recycling it is always fascinating and interesting, besides being useful. Maybe this is the reason why I share the phrase “Once, old and broken things were not being throw away, but were repaired. Before being thrown and replaced by something new, those pieces that are considered recyclable have been owned by people who have given use and life. Unfortunately the replacing with something new is a common behavior among all of us, but some people are doing everything possible to try to recover the damage that has been done and it is still done at our planet. L’Animalada is an example of this, an example of creativity and an example of healthy thinking. This is a series of animals by Sandra Sarda Cabero, which combines three different worlds. Waste reduction, recycling of materials and retrieving objects. The passion for the game and what happens when this is introduced into the public space. The need to create and look for aesthetic correspondences between the recovered and / or found object and animals. The result has several interpretations but the most satisfying with a point of poetry is that trough the work of Sandra is given to those objects a new life. It is the returning to the life cycle, metaphorically, the first level and most genuine; the natural world, from where everything, toxic or not, is returned. Taking in consideration the depths sense of L’Animalada, Weird Animals has the ambition to talk about the importance of recycling by addressing the issue in a rather unusual way. Put this animals in their natural place, suggests what it could be the future of our planet. The idea of being surrounded by recycled animals of course scares everyone, even if the images do not transmit and do not pretend to have nothing awful, but the opposite. Rather surreal, dreamlike.

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