┐ one little, two little, three little fingers, how many do we need to pull? └

You people who read this blog know that it is unusual for me to make a post about something that I don’t like or to make a negative and/or non constructive criticism (even if by sublimation) about something that I first choose to display. I will, for once (?), use this author’s images in order to make a point: that hyper-formal-aesthetic-overlyexplicit-inyourface-photography is not the way to go, unless you’re in a reality show. This really is what I find pornographic in a lot of phtography-based works today – there is no punctum!

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all photographs © Mustafa Sabbagh

Mustafa’s site is here

┐ Davide Monteleone – Northern Caucasus └

© David Monteleone, Daghestan, Russia, 2009. Ghimri, during a bull sacrifice

© David Monteleone, Republic of Ingushetia, 2010. Nazran, during a wedding

© David Monteleone, Republic of Chechnya, 2010. Old portrait of Sheik Mansur and Sheik Artzanov

“At first there was the Russian Empire, Saint Petersburg’s splendour, nobles’ dynasties set against commons far and distant, scattered on an unlimited country. Later on came communism’s turn, with its pyramidal hierarchy, its ideology imposed without any discussion for a “superior common good” that revealed itself utopian and elusive. Walls and curtains finally fell down, but renewal’s winds were broken off by the chill of something more indefinite and creeping. Something nobody talks about, but nobody can dispute. A dictatorship replaced by another, worst.

Therefore time passed over counts and masters, hierarchs and politicians, arms of the law and armed arms. And all the past reflects itself in people’s eyes. A population that becomes silent and fierce, strong and proud, persons for whom an endearment never last long, family’s ceremonial is reduced to the least, men and women live suspended in a time space different from that one of the rest of the world. Places where blood has flown too much, where too often it is forbidden to mourn one’s own dead, where screams become mute, and hiding turned into habit. Caucasus’ regions.

The Caucasus is a concentrate of stereotypes as well as surprises. For centuries it has been land of political, religious, military and expansionistic rivalry, cruel struggle between opposing States and also between allied states. Ever since the beginning of the 19th century this region has been part of the tsarist Russian Empire, later absorbed by the Soviet Bloc.

The 1991 radical transformations involving the entire Warsaw Pact coalition, and the storm caused by the collapse of the Soviet Union, got new and ancient disputes resurfaced, and in some cases worsen, and revived political and economic aims of supremacy in the area.

This project takes into account the countries in which disputes and struggles are not over yet or only apparently seem concluded, as intermittent fires under the political rhetoric of “normalization” and “pacification”. I began to investigate the daily life of people living in the Northern Caucasus, who are still divided between the claim for independence and the pride for their diversity, economic subordination, the historical-political and mental affiliation, condemned to an eternal geographic position in an oblivion, the elaboration of a new post-soviet identity.”

David’s statement

More of his work here

┐ Christian Niccoli └

© Christian Niccoli

© Christian Niccoli

“As I was previously saying I am very interested in human needs and our will and necessity to relate to others. This is on one hand a more-than-finished issue, because it has repeated itself since humans have existed. On the other hand, each era and culture has dealt with it in it’s own way and this makes it unfinished.”

source: Whitehot Magazine

Christian’s work here

┐ Alessandro Nassiri Tabibzadeh └

© Alessandro Nassiri Tabibzadeh, la verità non esiste (the truth does not exist), 2005

© Alessandro Nassiri Tabibzadeh, I won’t change the world

If a man die
it is because death
has first
possessed his imagination.
But if he refuse death–
no greater evil
can befall him
unless it be the death of love
meet him
in full career.
Then indeed
for him
the light has gone out.
But love and the imagination
are of a piece,
swift as the light
to avoid destruction.
So we come to watch time’s flight
as we might watch
summer lightning
or fireflies, secure,
by grace of the imagination,
safe in its care.

excerpt from the poem “Asphodel, That Greeny Flower“, by William Carlos Williams

More of Alessandro’s work here

┐ Simone Donati └

© Simone Donati, Angela, Angelo and their 3 daughters having breakfast in the kitchen-living room made from an old stall. This is a temporary place before their new house will be ready, from the project Valley of Angels

© Simone Donati, The three sisters, Hybla, Lua and Siria, outside the new house, from the project Valley of Angels

© Simone Donati, Angelo setting up a cartoon on the computer for Hybla to watch, from the project Valley of Angels

“Angelo and Angela have lived together in South-Eastern Sicily with their daughters Hybla, Lua and Siria, since 2005.
They chose this place to build their home and their life. A simple life.
They chose to be careful about the food they eat and the education they give their children who were all born at home.
With the same convictions, they use alternative energy sources (such as wind turbines and solar panels) that allow them to live independently of a mains electricity supply. They only buy organic and locally grown food.
Getting to know them on a daily basis turned into a genuine co-existence, and I was immersed in their strong dedication to this life project and their daily commitment to it.
The awareness of living a revolution is transformed into deeds and actions of hard work.”

More of Simone’s work here

║ Giorgio Barrera ║

© Giorgio Barrera, Untitled, from the series Through the window, 2009

© Giorgio Barrera, Untitled, from the series Through the window, 2009

© Giorgio Barrera, Window # 37-2, from the series Through the window, 2009

“There is something in photographs taken by Giorgio Barrera that irresistibly attracts our attention. The aesthetics are neat; the framing structure is clear, respecting emblematic models of architectures and landscapes we know well; the subject is clear and rich in details that are pleasant to linger on. These aspects however mislead us regards to the images easy interpretations, while without noticing what we see, it generates a series of doubts and starts an interpretative process in which things no longer seem as obvious as we thought.

The presence of a window through which we are allowed to look inside a home from the exterior is an apparently simple stratagem, but one resulting in a network of various psychological mechanisms that render the meaning of the image more complex.

This element plays a fundamental role in the way in which the image is perceived by the person on the other side and who is the real receiver: the viewer. The viewer s perspective, now analogous to that of a person standing at a window, either opposite or on the other side of the street   which is totally plausible   acquires greater credibility. According to Barrera, it is in fact important to leave the viewer with the feeling that he himself is the one looking through his own eyes, with no mediation, and this impression of enjoying a privileged, protected position results in identification with the situation.

It is obvious that by placing the viewer in this situation, the photographer s intentions are specific. He knows that at this point the viewer wants to understand something; he want to understand what he is being shown and why. Above all the viewer would like an interpretative key, one that Barrera instead plays with and keeps in his pocket.

The thin line that separates fact and fiction gets thinner and thinner. Barrera in fact generates expectations that he intentionally disappoints, and he creates doubts without worrying about settling them, simply because at that point he has already achieved his objective.

In their succeeding one another the images become irresistibly more enigmatic and we feel that each window may potentially hide a story. Even the most ordinary scenes, in which all seems to be uncovered, can suddenly become suspicious.

This continuous questioning the  why  of an image, the reformulation of interpretative codes, satisfying and disappointing the disorientated viewer, is the conceptual principle that inspires Barrera s work.”

Daniele de Luigi

More of Giorgio’s work can be seen here

║ Valentina Bonizzi ║

© Valentina Bonizzi, Untitled, from the series Work and Intimacy, 2009

© Valentina Bonizzi, Untitled, from the series Work and Intimacy, 2009

“This project is about Italian women who emmigrated to Scotland. The photography research presents the way they view their job as the bridge which connects them to Scottish society. It explores the intimacy within their own houses. A space where objects and colours travelled with them, giving a foundation to their identity.”

║ Jocelyn Lee ║

© Jocelyn Lee, Untitled (Kara standing), 2005, from the series Portraits

© Jocelyn Lee, Untitled (Michelle and Lisa), 2006, from the series Portraits


“I photograph portraits because I am curious about people, and our tenacious attempts to find meaning and direction in the world. I am particularly interested in how we reveal our vulnerability, which is not something our culture reinforces or encourages.
My portraits are about the things people consider when they are alone or in between moments of inactivity and reflection: aging, illness, sex, the body, states of transition, our desire for connection, and the search for personal identity.”
Jocelyn Lee

More of Jocelyn’s work can be seen here