Dates: From October 15 to November 1, 2020.
Opening hours: Thursday from 6.30pm to 10pm; Friday from 5.30pm to midnight; Saturday from 4.30pm to 11pm; Sunday from 5.30 to 9pm.
Location: Cinema Edison
Dates: From October 15 to November 1, 2020.
Opening hours: Thursday from 6.30pm to 10pm; Friday from 5.30pm to midnight; Saturday from 4.30pm to 11pm; Sunday from 5.30 to 9pm.
Location: Cinema Edison
International partners of Panoràmic showcase some of their selected artists and projects to bring the audience closer to the concept of Extimacy, from different points of view.
A co-production with Comune di Reggio Emilia, Giovane Fotografia Italiana #08, as part of the program “Sinergie” co-financed by Presidenza del Consiglio dei Ministri and Anci, Associazione Nazionale dei Municipi Italiani.
Water dreams of itself. The concept of identity, like reality itself, has multiplied, has become expanded, opening up space for a world not clearly defined, where fixity is replaced by a variety of possible forms. Everything can be constructed and deconstructed at our pleasure, but the flipside of this is an ever-more individualist society where social ties are becoming ever-more liquid and instable. In the contemporary Western world, society is becoming more and more fragile: the individual, distant from others, is left free to assert herself but lacks any reference points to use as guidance or identify with. The individual is thus liquid, she can continually re-assert herself according to her whims and fantasies. But in absence of the capacity to find its own form, this individuality assumes the form of the “recipient” that momentarily contains it. It is, then, an individuality in constant mutation, capable of finding itself anywhere, but never staying in one place for long.
Domenico Camarda [La Spezia, Italy, 1990] studied communications at the University of Bologna and photography and visual design at Milan’s NABA – New Academy of Arts. In autumn 2014, he moved to Lisbon where he began to work for the publisher Pierre Von Kleist Editions and the Pedro Alfacinha gallery. This experience gave him the chance to develop his interest in author photography and art publishing. In 2015 he moved to London to work for the photographer Amelia Troubridge as her assistant, editing and designing the layouts for her most recent publications. He currently lives in Turin where he works in a freelance capacity. Camarda’s artistic practice explores themes such as the construction of individual identity, reflecting on what it means to be contemporary in today’s world. Creating a series of evocative and dream like images, Camarda seeks to raise questions and provoke contemplation rather than give simple responses. His work has been exhibited nationally and internationally, and he was chosen in 2019 by CAMERA – Centro Italiano per la Fotografia for the second round of the Futures – European Photography Platform project.
The only border that matters is the blue border that surrounds us like a cloak. I have tried to put myself in the shoes of someone who reaches the end of a journey to an unknown destination, that they imagined as a castle made of clouds, but which vanishes into air on arrival. When this dream vanishes, what remains? Where can someone who is lost find answers? Where can they find directions to get them home? Visions, suggestions of an interstellar journey. Like the stars that move at supersonic speed, thrust out from the encounter between two black holes at such velocity as to reach incredible distances, messenger stars that bring life beyond the confines of their galaxies. I wanted to recreate the imaginary of the people who decide to leave their home and follow their dreams by moving physically from one place to another, overcoming barriers in a struggle to reach their “El Dorado”. I have discovered that the dream that these people chase is not always and only the desire for a better future: sometimes it also becomes a nightmare, appearing when the dream becomes unrealisable and remains something that cannot ever be reached. Not all migrants’ stories belong to this project; it is a kind of imaginary journey, an attempt to see the world through their eyes, telling a story about migration that sees it as a personal story, not only a mass movement.
After finishing a degree in philology in her hometown, Alisa Martynova [Orenburg, Russia, 1994] went on to start her undergraduate degree in professional photography at the Fondazione Studio Marangoni in Florence in 2016. Alongside her studies, Martynova currently works as a freelance photographer and as an assistant to the Riverboom photography collective. In 2018 she exhibited at the Leica Story, and in 2019 she won first prize in the photography section of the Premio Combat. She came second in the Canon Young Photographers Prize and presented work at the opening evening of the Les Rencontres d’Arles photography festival. In Autumn 2019 she was a finalist in the Photolux Award and in the PH museum Women Photographers Grant. Martynova lives and works in Florence.
There exists a new anthropology of the imagination. The fantastic has crossed the threshold of art, myth and ritual and has spilled over into the mental labour of ordinary people in many societies. The creation of the world is an ordinary day is a photographic piece that began in Estonia and took concrete form as a series of artistic postcards. Inspired by an ancient Baltic tale of the origins of the world, it is based on the re-assembling of semantic fragments whose cosmogonic story is put in relation to the small sacredness of everyday objects, evoking that mystery of the nature of time and culture that has fascinated man since ancient times. Created within a context of otherness, The Creation looks at practices of exchange and reciprocal interaction between different subjects and cultural perspectives. A story is not born from a single place, it can travel from person to person, from one language to another, and when this happens the mind must be free to reflect and to change in accordance with that knowledge. The world is a container of stories that are in constant recreation, and the photographic project is the intermediary for the formulation of a new multicultural and collective story, free of language barriers or any barriers of form and content.
After finishing a degree in art at the Paolo Toschi Institute
of Art in Parma, Elena Zottola [Maratea, Italy, 1995] moved to Naples where she took a degree in anthropology of heritage. In 2018 she had the chance to study abroad at the photography and contemporary arts department of the Estonia Academy of Arts in Tallinn, which allowed her to combine her university training with her passion for photography. Here she created The Creation Of The World Is An Ordinary Day, under the supervision of Camille Laurelli as part of the Rivista project. In 2019 she returned to Naples and is currently studying at the Centro di Fotografia Indipendente. In collaboration with
the Centre she has created her second photographic series
titled Prosféro which has attracted significant attention.
Zottola is continuing her postgraduate studies in anthropology with the intention of being able to use academic study to enrich the content of her photographic practice.
Love isn’t about gender, ethnicity, race, or religion, but Love should be defined by its beauty and power to transgress all social stigmas. If it is strong enough it will help you gain confidence, bravery, awareness, and self-love. It is our differences that bring us together, that link us, that teach us how to grow as constantly learning humans and therefore units us. Interpretation is always up to the viewer, but the core message of this project remains the same. Playing with the simplicity of background mixed with strong poses and confident real couples, mixed-couples helped create that statement of brave Love. The strong link between two partners in a couple is shown through complimentary clothing: a similar jacket but in a different color, a pants with no top next to a top with no pants, or the same color of clothing for both. Differences bring us together, and having all the couples wearing the same simple white tank tops and underwear in the same photo was the perfect visual way to show unity among our differences.
Born on January 2nd 1995 and raised in France, Dylan left his hometown after high school to pursue his dreams of Filmmaking and Fashion Photography by coming to Los Angeles, CA. After graduating from The Los Angeles Film School, he started working full-time as a photographer and filmmaker. His fashion photography work has been published in numerous magazines such as: Vogue Italia, Cosmopolitan, L’Officiel, V Magazine, Numéro, Gay Times, Nylon, Schön! etc. Moreover, his first short fashion experimental film “Life” got recognition worldwide with awards in different countries, and his music video directing work premiered on Time and DuJour, for instance. Creating has always been a passion for him, and combining many elements such as: people, fashion, and places are his best way to tell unique stories. His inspiration comes from different kinds of arts mixed with childhood in Europe memories and new life culture in America.
Nowadays the media and society refuse to accept a lot of explicit content because often the people impose it to be something absurd and inappropriate. Even those who do not think the same way can easily be intimidated by the social body that votes against this kind of content, as if it incited or gave a wrong message, especially when it comes to the naked, natural body of us human beings, which is absurd coming from something that is human essence. Given that we have free will, we all have a body and it must be respected and often admired, regardless of its physical form. The Hand’s Project aims to make a social critique of this censorship, implementing a combination of photography, the nude and sensuality. The images produced aim to confront and at the same time provoke, with the hands representing the censorship and sensuality the “natural.” The provocation being the support of this project in order to intimidate people who deny this fact and this reality that will never change.
Gabriel Santan was born in Carapucuíba, Sao Paulo, Brazil on 3/18/1996. Santana’s interest in photography arose when he won his first digital camera in 2010. It is through his works and author’s drawings that he finds his freedom of creation, giving life to those simple outlines. From childhood, I always have liked art! Mainly drawing, loved drawing! Even after the photograph, I did not fail to take advantage of my talent, whenever a new idea came up, instead of writing it down, I draw it.
We are very (self)-critical when it comes to (our) appearance, especially millennial women. It looks as if we feel forced to keep up with certain beauty standards, which are for the most part unreachable. Have you ever wondered how you would look like if something on your face were different – maybe the nose or lips? How about if I give you the chance to see it: everything that bothers you about your appearance changing completely based on your preferences. Your wishes should just be announced, and I shall make them come true. All of your insecurities will be replaced by new parts of you, but even better: you get to choose which ones I will glue on your newly-made collaged portrait, but without you trying how they suit you before-hand..and do you really believe that those changes are going to make you feel (or look) better?
My name is Iza Štrumbelj Oblak, I was born on the 12th of July. Currently, I am a student living in Medvode, Slovenia. Since I was a child I knew I wanted to be an artist, at first either more traditionally oriented as a painter or a sculptor, but during my attendance at the Secondary School for Design and Photography in Ljubljana, I discovered my real passion photography. Now I am a student of the last year of Photography at the VIST – The Higher School of Applied Sciences in Ljubljana. Besides that, I am currently educating at VII Academy masterclass and workshops. A big passion that has been accompanying me for a decade is equestrian sport. I am competing at show jumping and horses are a very important part of my life.
My socialization as a female began with pink color. Mom loved this color so much that she could dress me from top to toe in clothes of shades of pink. She also wanted me to wear dresses and skirts, smile at everyone, and feel myself comfortable. As a child I tried to meet her expectations in order to earn love. Mom has been gone for three years. Now pink has become for me as a guide to my mother’s world, helps me to bear the longing for unfulfilled intimacy easier. I analyze our parent-child relationships through this color, create that deep connection and intimacy, which actually did not happen.
Born in 25 March 1996 in Samara. Studied at the photo school of Kristina Syrchikova at the Victoria Gallery. In photography the main idea based on privacy: a diary, projects on the person’s inner experiences, family stories, and feminist projects. Lives and works in Samara.
The series “2091:The Ministry of Privacy” is exploring the mechanism of facial recognition technologies used by the Chinese government to monitor and oppress the inhabitants of the Xinjiang region. To do so, I worked with a French IT engineer, William Attache, who helped me develop and install facial recognition software on my computer. The software we developed is very close to the ones used by the Chinese government in the region to track its inhabitants. Later, I travelled to Kachgar, one of the last bastions of the Uyghur culture in Xinjiang, and probably the most monitored city of the region, where I’ve photographed the daily life of the inhabitants. Once in my hotel room, I uploaded the pictures inside the facial recognition software and waited for the operating systems to recognize the facial information of the people appearing in my photographs. After recognizing it, the software drew the respective biometric facial information directly on the faces of the people appearing in the photographs, allowing us to finally see facial recognition. Through this creative process, “The Ministry of Privacy” reveals the intrusiveness and the dangerousness of this invisible technology, while documenting and paying tribute to the last remains of these communities’ vibrant culture before its planned disappearance.
Maxime Matthys (1995, Belgium) is a visual artist working and living between Rennes and Paris. He is developing an artistic practice using mainly photography, performance, videography and installation. His work focuses on the way technologies are affecting our daily life and are shifting our perception of reality. While exploring new forms of narrative, he keeps documenting the important issues that are shaping our future. His work has been multi-awarded and exhibited in France, Canada, Lithuania, Poland, Malaysia, Korea, United Kingdom, Indonesia, Spain and published in various magazines and newspapers such as Le Monde, Libération, Fisheye Magazine, Polka Magazine, Médiapart, ArtInfo. His most recent work “2091: The Ministry of Privacy” has won the Kaunas Photo Award in Lithuania and will be exhibited at the Centre Pompidou in Paris, in February 2020.
Since 2017, I have been collecting and appropriating a large quantity of photographs and descriptive texts on the second hand website Kijiji in the “wedding dress” section. The photographs and texts of this project are presented without retouching or modification. From the fitting of the dress to the wedding ceremony a dichotomy arises between the representation of the sacred and the primary exhibitionist of the images. This unpacking of intimacy, associated with the many reasons justifying the sale of a wedding dress, transforms our relationship to the status of photography, between true and false, as much as our relationship to the ephemeral consumption of objects, including marriage.
Exhibited in Canada, France, Poland and Cuba or presented in the form of publications, André Barrette’s production revisits, with penetrating humor, certain themes and manifestations of popular culture. This is evidenced by the series Les rituels, parcours de chasse (1999) and ALL U CAN EAT (2007-2014) as well as Marx, Marx, la danseuse et la coupe Stanley, a book published in 2010 and taken from a correspondence with the writer Rémi Ferland. (2006-2010). In 2016, Barrette published Fin de Siglo, encapsulating Cuban reality, propaganda and myths in a work on the borders of essay, novel and documentary. Since 2016, he has continued his research with images from the web, including classified ads. The artist lives in Quebec City, where he has practiced photography for over thirty years.
My observations on the city have more recently crystallized around the theme of abandonment, of neglect. I initially approached the wasteland as a generator of alternative positions on the city in transformation. The images of wasteland in different cities (Barcelona, Buenos Aires, Detroit, Montreal) were accompanied by more general reflections on the occupation of the territory and the shared responsibilities. The global period of confinement has accelerated thinking everywhere about the effect of stopped time. In Montreal, from the first days, I walked around my neighborhoods to see the effect of the closures. I saw myself in these reflections of shop windows. It has become a leitmotif to document places with poetry and also with the staging of the self to correspond to the theme of extimity proposed by Panoramic. From windows, I went to screens, making montages from images from my social networks and videoconference meetings. And then with the deconfinement and the arrival of summer, I continued to seek the inscription of my image in the landscape.
Her photographic practice is characterized by an openness to other disciplines, mainly literature and multimedia, narrative and interactive processes. It is nourished by research-creation stays abroad and by 1990s, she produced a number of photographic exhibitions, web art projects, video installations as well as a photographic and literary fiction cocreated with Michel Lefebvre for exhibition spaces, radio, web and CD-ROM. She worked for several years on the cities as places of expression. Her recent production, a body of 32 images taken from archives and memory centers inf the cities of Buenos Aires and Córdoba, was published in an essay on the condition of women during the Argentina military dictatorship. (Massoutre G. Nous sommes le soleil, Ed. Varia, Montréal, 2019). Previously, she had created an photo essay for three video screens on the general themes of art, city and citizenship (Fusion des horizons, 2016). The project was presented as an installation in galleries and projections in public space in Canada and Colombia.She am also interested on the theme of borders and migrations. She is cofounder of a Montreal digital art center and president of its artistic committee.
The Father project is a set of photographs and texts telling, in different chapters, the father’s covid disease from the threshold of infection until the awakening from an induced coma, in the impossibility of a close contact, in the distance imposed by the pandemic context. Each episode follows a narrative axis creating meaning with the photographic medium. This exploration emerges from different actions and is revealed in obtaining diaphanous-looking images made in dark spaces (Chapter 1), in the translation of photographs in text codes (chapter 2), in the absence of essential parts of the camera (chapter 3), in the visibility of the back of an image (chapter 4), in the dissolution of authorship from accidental or found photographs (chapter 5). These inquiries arise as ways of dealing with the distance. They manifest a tension in the will of creating new photographs with the contradictory urgency to protect family privacy.
She is a graduate in Fine Arts, cum laude, and has been professionally trained in photography at the IEFC (Institute of Photographic Studies of Catalonia). She holds a Master in Artistic Production and Research at the University of Barcelona. Her photographs have been recognized and have appeared in various media and his sculptural work has been included in national and international exhibitions, such as Kowasa Gallery, Via 2, Fundación Vila Casas, Visa Pour l’Image (Perpignan), at the Barcelona Maritime Museum, at the Contemporary Art Biennale Pamplona, Arts Santa Mònica, El Quadern Robat and the Art for Art Foundation (Buenos Aires), with the support of the Institut Ramon Llull, among others. Her work is part of several collections such us Gallery Via 2, Caixa Terrassa and Kowasa Gallery, Fundació Patrim and UNESCO.
Andres Galeano collects vernacular images through Internet, markets and files. This project is an opportunity to share some of the thousands of images that surround you every day and to put them into dialogue, see them with new eyes and relive them.
Andrés Galeano [Mataró, Spain, 1980] graduated in Philosophy at the UB in Barcelona (2003), in Photography at the FFS Stuttgart (2006, Germany) and in Fine Arts at the KHB Berlin (2012). His work is interdisciplinary and covers media such as photography, video, installation and performance. He lives in Berlin.
Inspired by the name from a Texas oil city, Sour Lake was the name given by Texaco in the 1960’s to a small town recast in the Ecuadorian jungle, known in Spanish as Lago Agrio. This name gives origin to the framework from which the short film was made, shot from the surroundings of this city to the Colombian Andes, where the vegetation of the jungle begins to fuse with the mountains. These geographical sites connected with each other for centuries are crossed by numerous economic, ecological, political and territorial issues that arose since the sixteenth century, when the Spanish conquistadors explored them in search for El Dorado. It is from these geographical, social and imaginary confluences that Sour Lake interrogates the relationship between these territories and their inhabitants.
Colombian filmmaker. In 2013 he obtained a master’s degree in Cinema and Audiovisual Studies at the Sorbonne Nouvelle University (France), where he currently attends doctorate studies. He has collaborated with filmmakers, contemporary dance choreographers and musicians on performance and video installation projects in Colombia, Ecuador, France, Italy and Switzerland. His film Sour Lake (2019) has been selected at different national and international film and contemporary art festivals. Since 2017 he has been a teacher at the film school of the University of the Arts (Ecuador).
What is that thing called Colombianity? Where does it come from? A collage of hegemonic discourses and bad images of Colombian folklore, tries to give an answer that reveals more ruptures than paths. To the voices of those who have occupied medias and power, the silence of critical thinking and memory is contrasted, offering a polysemic identity response. No somos los mismos shows how national history changed the future of these peoples and how they occupy a multicultural territory where it can hardly be said that we are the same.
Errata is a collective founded in 2019 by Andrés Santacruz, Danny Londoño and Mariana Rubio Marín, who come from documentary cinema, visual arts and literature studies, respectively. The Errata Collective did the following short films: No somos los mismos (2019) and Sin medir distancia (2020).
Who are we, when there are missing pieces of our identity affected by oblivion? This is a personal-exploration-documentary piece, that tries to traverse the deepest (possible) of a fragmentary and incomplete memory going throughout personal archive of videos, photographs from family albums, recorded conversations, written memories, recovered images, found footage of sounds and dreams; aiming to find something that’s been lost in the immensity of the unremembered.
Film and television student at the National University of Colombia. She has worked mainly in the fields of scriptwriting, documentary filmmaking and experimental video. She participated as a production assistant and data manager in the fiction short film “Juan” (2016), as a screenwriter in the fiction short film “Entre Caminos” (2016), as a co-director in the documentary “Amante(s)” (2017), which was selected within the non-competitive section National Panorama of the Popayan Short Film Festival in 2018, within the National Experimental Short Film selection of the University Equinoxio Film Festival in 2019 and was selected within the official Selection of the Bogotá Experimental Film Festival / CineAutopsia in 2019. She has also made the videos “Rosebud” (2017), “Escafandra” (2017) and “Querido Imparable” (2018). His most recent work is the short documentary film “No lo encuentro” (2020), which was recently selected in the Cinema (and) Digital category of the IX International Image Festival.