MTU Crawford College of Art & Design, BA (Hons) Photography with New Media programme is a proud partner of Photocitizens, International Photography Festival, which aims to connect Photography students across the world. 

The first exhibition of international student photography work, titled "Place", will be hosted in Ireland at the MTU Gallery at 46 Grand Parade, Cork City

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Exhibition continues until the 24^th Feb 2023.

OPEN:  Mon – Fri 11am - 4pm

MTU Gallery at 46 Grand Parade, Cork

ARTIST STATEMENTS

REFERENCE ONLY

GALLERY COPY

PLACE

A Photocitizens International Photography Exhibition

OPEN: Tue 7th - Fri 24th Feb // Mon – Fri 11am - 4pm

MTU Gallery at 46 Grand Parade, Cork

ARTIST STATEMENTS

GREECE

1. Dimitas Lapousis

2. Naouma Itti

3. Annita Dimitriou

4. Marieta Kolonia

5. Visiliki Sferopoulou

VIETNAM

6. Vu Phan Ahn

LEBANNON

7. Eid Zeina

My village frozen in time:

For me, the confinement was a change of space, indeed, my father had decided to take us to live in a village, in Mtolleh in the Chouf a place that had been unfamiliar to me (we did not go there regularly before the confinement). But once there I found myself interested in learning more about my village. Since something had caught my attention, I realized that many houses were unfinished. I began by asking my father questions, who told me that our village before the war was almost entirely self-sufficient like any other small village in the area, the majority of the village's inhabitants were farmers, a small number were teachers at the village school who took in students from several neighboring villages, and a few were in the army.

During the Lebanese civil war, more precisely during the Israeli invasion of Lebanon in 1978, the militias, adversaries among themselves, moved from village to village leaving only ruins and ashes after them. More than 82 villages were damaged, destroyed, including Mtolleh. My father tells me: "I was not in the village during the "tehjir", but your uncle came to the village the day after the massacre. He saw the dead bodies, recognizing family members, friends, people we knew. It was terrifying, infuriating... When he went to see the state of our house, there was nothing left but the metal door that men, probably militia, were taking away."

After the war, rebuilding began again, but many people abandoned the village and either traveled elsewhere where they found better opportunities, or moved to the city. The majority, in a country that is still unstable, do not have the financial capacity to continue to rebuild, others have lost hope and have abandoned the path.

My village remains frozen in time, in a transition period between destruction and unfinished construction.

8. Debian Nour

Sincerely, with parts of me I’m trying to kill, 2022

The lockdown period strikes me as a cloud over my head. I don’t recall much from that time apart from my relentless state of anxiety, insomnias and the fact that I was in love. Fortunately, enough, I wrote a lot. I wrote to the person whom I loved and who remained out of reach for months, both physically — due to the social-distancing rules — and emotionally. I have kept those letters in a little folder all this time and have never sent them. In retrospective, I believe that they were made out of the frustration to make sense of myself. I was driven by the desperate need to turn this very real person into fictional being whom I would write to. It gave me control, a sense of self that I yearned for.

I think that those who were the most affected by the hardship and alienation of those times have felt the urgency to get a grip of something that made them feel alive and on their feet, whether it be a hobby, a space, a person, an idea, or their own body.

In this project, I have assembled some extracts of those love letters and overlapped them over black-and-white photographs, some of which have been taken during lockdown and others recently. Yet my aim was to give the visual impression that they were all taken in a similar period, not only for an aesthetic aim but also as a way to actualize the strange memory of that time. My main aesthetic concern was to pay attention to the assemblage of the photos, so as to not end up giving the visual composition the feel of a constructed narrative, but rather build an indirect portrait of my routine, revolving around my obsessive thoughts of the fictional receiver of those letters.

9. Adriana Dagher

The corona virus has had a huge impact on the world. I can surely say that this virus and its spread changed my life and in particular my daily life, my relationships, my activities, my habits; my life in general was turned upside down and not temporarily; forever.

I had to remain enclosed between 4 walls and have as only companion, apart from the family sometimes, only myself.

This had many consequences and above all many personal reflections.

I had more than enough time to think about the element in my life and to ask myself existential questions and in particular to lament about what I miss from our past life.

I was able to realize what I had taken for granted, what made me happy and took up space and had a positive influence on my life that I now miss.

A big part of everyone's life and one of my greatest sources of entertainment are parties. There are always parties, everywhere, and they are a place to meet, to start or to develop relationships. The smile is always on my face, I let go and have fun; it allows me to be myself and give it my all.

It is on the tempo of the music that I release all my stress, the misfortunes of the outside, and for a few hours everything is blurred; a mixture and intermingling of dance song, people I love.

In my photos I want to capture the feeling I get when I'm at a party and how and why it could be something I miss.

FRANCE

10. Augustin Décarsin

Home, Away from Home

The human is part of a spatio-temporal experience that is specific to him. This constantly moving individual space is punctuated on one hand by travels, but also by emotions, memories...

These elements constitute the subject’s individuality; they mingle and take root in a soil that is both stable and constantly renewed. While being continually brought into contact with reality.

How to forge your identity while being away from home?

How to appropriate a space to make it more familiar?

Home, Away from Home is a project that focuses on building multicultural identity in intimate space, through the prism of women who have lived in different countries of the world.

For our protocol, we decided to photograph several women between the ages of 18 and 35 in a 4’x 5’ inch camera. We want to make two portraits and a still life: a full-length portrait in the place where they feel most at home and where they choose the action to be done in their space. Then, a close-up portrait and a photo of their hands holding an object that is dear to them.

11. Sixte Labouche

Most of us experience the city as our daily environment; but some people have a different approach to it. I        wanted to study how the military consider this place as a potential war scene.

During 24h I was granted total access inside the CENZUB (Training center for actions in urban                  environment), the biggest of its kind in Europe, located 150 kilometers away from Paris. In this huge

military zone, hundreds of soldiers simulate battle scenarios inside fake cities. Every equipment they use              is real, from machine guns to tanks but laser rays substitute gunshots.

In this photo series called “War Games” you will dive into these utterly realistic sets where anyone could be fooled unless you discover the referees in orange vests and the loudspeakers playing explosion sounds.

12. Cassandre Villautreix

Introduction to magnetic resonance

The energies composing our body and our territory are intangible, invisible and yet present. They govern all the laws of the universe even in microscopics interactions between atoms. Magnetic, electromagnetic, vibratory phenomena have one thing in common: they have the ability to modify a state, from point A to point B, and from which one can measure an evolution. This work causes movement or generates electromagnetic radiation, such as heat or light. Energy therefore suggests an interaction between two parts, between two objects, two subjects, which resonate. Here we will discuss more precisely the phenomenon of magnetic resonance: "we hear it, we feel it. Everyone releases one, even the Earth, and will influence all our unconscious choices that we make instinctively, by automatism». This resonance between several beings is composed of energy. It is intended to be studied in images, as well as through people looking at images, and interactions between people looking at those images. How does body consciousness as an energetic being, connected and partially invisible, change our relationship to space? The scenography is part of the stakes of this series, whose subject includes the viewer of the images and the links between all the parts. The spatial and material dimension of photography will place the human in an energetic dynamic, paying attention to his bodily sensations.

13. Ethan Chekroun

Introduction to Balagan

The city embodies the dynamics of the people who live in it - Netanya has a very original one.
 
This town in the north of Israel is important to our family, as we have been spending our vacations there for 40 years. And recently, my brother moved there.

Nevertheless, during all these years I’ve been there, I never had the idea to take pictures of it.

I love it but I find it ugly, disorganized and dirty.

Generic because most of the Israeli cities are built around a similar urban planning model dating back to the 1951 regional development plan led by the architect Arieh Sharon.

The streets in the summer have a delicious smell of sewers. The buildings from the 1950s, like the State of Israel, are miraculously still standing and are gradually and systematically being replaced by skyscrapers.

It is this last observation that alarmed me.
The NET35 urban plan calls for a thorough reconstruction of the city, even reshaping the traditional neighborhoods by 2035. 

The landscape is becoming modern, clean and asceptized.
The new Netanya is emerging.
And I’m afraid that the city of my childhood is slowly fading away to become a fantasy of modern society.

Before the city mutates completely, I want to capture the chaotic, grimy soul of Netanya that is so dear to me.
This huge Balagan*.

*Hebrew word to express something messy

New Zealand

14. Michael Madden-Smith

‘Tangi-te-keo’

This project emerged from my daily commute between the central city of Wellington and my home in Hataitai. Along this journey, I would walk through the forests of Tangi-te-keo. It became a place of escape, an oasis within the city.

However, as a Pākehā New Zealander, I felt it was crucial that I explore the history of this place, face its colonial past, and position myself within the landscape. Through this exploration, I learned that this was in fact, a manufactured environment, the product of a colonial vision. A vision acquired through the confiscation of Māori land, and the destructive manipulation of nature to satisfy Pākehā ideals.

There is tremendous tension in this landscape, a constant push and pull between the resistance of nature and our methods of control. These methods leave scars of human contact. Scars that contrast the beauty of the forest, and speak to a wider issue of how we use land in Aotearoa.

Through these photographs, I want to take the viewer on a journey that captures this duality. On the surface, it is a beautiful landscape, a place for escape and reconnection with nature. But beneath this beauty is a darkness, a reflection of our incessant desire to control the natural world.

15. Belinda Whitta

reach into the soil: settler colonial trauma and reciprocity with the land.

A photographic body of work by Belinda Whitta.

reach into the soil is built upon landscape documentary photographs, interlaced with performative self-portraits taken in response to the key ideologies that structure the work.

The combination of these photographic modes of representation are purposefully used to illustrate the core and ancient ideology of harmony between human and the earth. Investing my ancestral connection to the site has led to unpacking the intergenerational trauma and the white guilt that presents itself when acknowledging the hard truths of our settler colonial country.

The photographs are expressive of land in a multi-facetted way, through direct landscape documentary photographs and also through my interactions and use of its resources in performance, photographed through the mode of self-portraiture.

Within the realm of sustainable photography there is a sense of responsibility to connect and bring artistic justice to the landscape. This is predominantly successful by the prioritisation of the health and wealth of the land and our relationship with it, ensuring that when taking, we are also restoring. For this particular project, sustainable photography has aided me in challenging traditional methods of photography and presentation, to craft a practice that is prioritising the impact of the medium, rather than the historical conventions of photography.

In Aotearoa I am working within a systemically settler colonised country, so it is important as an individual to acknowledge where I fit in the development of the indigenisation of our country. This is essential in assuring that as a Pāhekā person I am not conflicting the voices or actions of indigenous people, and instead am striving to support their movements.

My photographs investigate and discuss numerous ideologies stemming from the previously discussed contexts, such as my personal ancestral connection. Ecofeminism being the key value that es together all these confronting ideas of settler colonisation, indigenisation and reciprocity between humans and land. The local context within Aotearoa has brought forth movements such as Mana Wāhine that aims to reintroduce visions of women that were present in pre-settler Māori culture, confronting the oppression and struggle that Māori women have felt in being forced into the colonial definition of the woman.

Another key topic, stemming from a yearning for prioritisation of spirituality and seeking to expose the power in nature, is ancient paganism. With the rise of Christianity in the Middle Ages, women and nature became demonised and suppressed. Along with the industrialisation and commodification of the Earth’s natural resources, the powerful and inter-related connection between the Earth and its beings has been dismissed. We now function within a system that is completely severed from the responsibilities we hold as inhabitants of the Earth, devoid of reciprocity.

Working with these loaded ideas has been strengthened by my sustainable photography processes, as without consideration to the impact of my artistic practice, the voice of the photographs would become contradictory.

16. Bell Keelin Aotearoa

This series explores Kupe’s Voyage by pairing portraiture to landscape to unite the people’s cultural connection to the land. Kupe is a famous navigator credited with discovering Aotearoa hundreds of years ago. His story has been passed down through oral tradition for generations among Māori, the indigenous people of New Zealand. He and his family sailed here from Hawaiki to catch the giant octopus, Te Wheke A Muturangi. It was a tough battle that lasted days, and it is said that the octopus carved into the top of the South Island, gripping so tightly as it was attacked by Kupe. That location is now known as the Marlborough Sounds, a place not too far from my hometown. After Te Wheke was defeated, Kupe sailed to Te Whanganui A Tara (also known as Wellington) where he reunited with his family and explored the rest of the North Island, departing from the Hokianga. I currently study in Wellington and so I relate myself within Kupe’s narrative sailing between the North and South Islands, taking that same journey he did, reuniting with family after weeks of overcoming challenges with university studies.

17. Felix Jackson

'Altimate' Photobook project

An alternative identity sits outside the safety of the mainstream. In my intention to look beyond the assimilated, I became curious of the alternative aesthetic. To be defiant and genuinely authentic is intimidating and this boldness I found interesting. Beyond image, I investigated a snippet of the Wellington goth, punk and alternative scene. Their alternativism transcends place, beyond the venues and social platforms. I photographed their bedrooms, kitchens, flats, up the walls and on the floors, wherever they expressed themselves beyond the body. The places they felt most private and the connected string of alternativism that led them out the door, into their daily lives and public faces. This project is a keyhole view into a scene often misrepresented by the bogeyism of being different. My ‘Altimate’ intention is to provide an alternative perspective.

18. Chen Kehan

"The green zone in the forest of metal" is a group of photographs that record a village being demolished in the Guangzhou City Business District. There are several reasons why I chose this title. Firstly, the whole area was covered by a green net for environmental protection, and secondly, when I first visited this place, it felt so different compared to the other areas. Although this village is located in the central area, it is very quiet and peaceful, as if something is blocking the noise from the busy urban areas which surround it, and there were birds singing, too, which was surprising. Similarly, I hope my photographs can offer viewers a small taste of that surprisingly quiet and peaceful atmosphere. The third reason is that this group of photos also reflects some of the changes China has experienced in the last 30 years of explosive economic growth. For example, the village is surrounded by skyscrapers, and there is a conflict between the government and villagers, as the government believes rebuilding the villages will help improve the environment, and will be good for city development. Some villagers don’t want to leave the home they constructed and have lived in for many years, and others don’t want to leave a place that is cheap to live in, convenient for jobs. In addition, these photos show some of the methods used by China’s authorities to control environmental pollution, both here and in other similar cities. Finally, I wanted to focus on the connection between humans and the environment.

19. Maija Stephens

Image title: Are you Māori enough?

What makes you Māori? Whakapapa. That is all you need to be Māori enough.

The paintings of C.F. Goldie and Gottfried Lindauer were my main source of inspiration for the ideas behind this project as well as the lighting and style I wanted to achieve. I counter-critique the intention behind Goldie's portrait paintings of kaumātua during his time by photographing rangatahi, presented in the many forms in which Māori appear today, in various stages of reconnection. This is not a portrait series of Māori who are dwindling at the hands of colonisation, but it is a series of empowerment - a gentle reminder that so long as you have whakapapa, you will always be Māori enough.

IRELAND

20. Wayne Forde

Sense of Place

Discarded items and abandonment create a sense of place for me. Items that have been thrown away, like electrical devices, general waste, toys, machinery, cars etc. create a perception of an area for me be it a landscape, a seascape, or an urban environment.

In these images I set out to capture the essence of this particular place and to create emotion and stories behind the discarded objects. I wonder what happened to these people that they needed to leave these items here in such a hurry. Were they simply giving these items to someone else or hoping they would die away to nature?

By investigating places like this I am confronted with human nature, environmental issues, mental health issues and the passage of time.

21. Daniel Hurley

Place

During the Covid-19 lockdown, I was confined to travelling within a 5km radius of my home in Glanmire, Cork. Around this time, I was starting to photograph more consistently. These restrictions forced me to explore my local area in depth, which brought me to many places I had never been before. I would regularly walk, run, and cycle the same paths and roads over the course of those few months. I started to notice the subtle details and the slight changes over time in these locations and landscapes. It brought me a deep sense of contentedness about being in that place at that very moment. As the restrictions eased, I continued to photograph the area, and continued to find things that interested me. I think the unforeseen circumstances of the travel restrictions helped to me to develop a photographic process. These photos are less so about what Glanmire means to me, but more so about the act of photographing and what it means to explore a place over a long time.

22. Paul O’Driscoll

I am Paul O’Driscoll, a 28-year-old photography student. I picked up my first camera back in 2008 when my mum got a digital camera and used it at an uncle’s 80^th birthday party but did not seriously get into photography till I bought my first dslr back in 2016.

Covid brought me to pursuing photography further as well as made me decide going to college was a great idea. Now I spend my time feeling a sense of ‘Place’ in what I do. The photos I have submitted all show off my sense of ‘Place’. Weather it is taking photos for my father of the sport he is apart of, Farming alongside my uncle on my family farm, adventuring around the country taking photos of places/buildings that are staples of Ireland or even taking photos of family, friends and key events in my life and my family and friend’s lives. I don’t take photos to share but to remember my life.

23. Ciáran Foley

Place

During the first lockdown of the Covid 19 pandemic the people of Ireland’s movements were restricted to a five-kilometre radius. To keep my mind occupied during these dark and uncertain days, I would go for walks through the rural countryside of my homeplace. Whilst on these walks, I would pass by a number of dilapidated old cottages. I always knew these cottages existed but now that I had all the time in the world, my curiosity got the better of me and I decided to enter these buildings of our forefathers.

I was blown away by what I discovered inside. It was like stepping into the past, like I was transported to a different place in time. Old religious relics like the Child Of Prague and the framed picture of The Sacred Heart with the red light were reminders of the strong devotion of the people from that era to the Catholic church.

24. Mícheál Meenan

My images for the Photocitizens collection aren’t literal in the sense of place. I wanted to use images that displayed things that personally gave me a sense of place, in addition to one or two images that are simply of a place that I find comforting, or that helps me to feel grounded. When it comes to themes in the photography I do, it probably might appear as more abstract as I find myself thinking about strange or deep concepts. There might also be days where I just feel like taking images that visually appeal to me. I find myself fascinated with particular colours or details in the real world and I tend to explore these in my photography, even it might not be my intention when I set out to take pictures on a given day. That’s why I’m so intrigued by photography.

25. Jack Buttrum

My name is Jack Buttrum, I’m from Cork in Ireland and I’m currently studying Photography with New Media at Munster Technological University. For my submission, I decided to select some images I had taken of streetscape. My hope was to capture images of places that were left untouched. Rugged looking structures, overgrown grass, graffiti, wear and tear, and the likes. I felt as though it made these places seem more natural in appearance. My hope was to purely capture places that were quiet and without people, with the intention to keep attention on the surroundings. I attempted to take some of these images in the early hours of the day to avoid being disturbed and capture the places as I found them. I was quite pleased with the results and plan to return to this style of photography in the future.

26. Avril O Sullivan

My work attempts to draw comfort from the chaos of endless narrative during the pandemic. During lockdown, I read many magazines that came with my dad’s newspaper. Social media was so oversaturated with information and opinion about lockdowns. I felt a yearning for a single medium that would allow me to construct my own narrative based on where I was standing. I started cutting out quotes that resonated with me. I selected and individually matched different quotes and my own images to document my thoughts, feelings and opinions, almost like a diary. The work isn’t as deliberate as it may look - the process of creating each image was a very open one. I allowed myself to experiment and be led to a different mood than I may have originally started with. My images combine journalism with the apparent confines of home at the time, showing the viewer the endless possibilities that language can create.

27. Eoin Murphy

Through the pandemic I discovered the relationship with place as a means to find the self. Walking the cliffs of Nuach Abhail (Nohaval), it became my New Homeplace and wandering the ruins I wondered when nua (new) becomes sean (old). The Cathedral of St Fin Barre's provided a refuge where I could escape by being enclosed. Its creative concepts demanding a creative response.

I immersed myself in these places and they allowed me to develop a deep relationship with them. In doing so I found the self that is content in solitude and contemplation.
Content to hold one thought and explore it more completely without the necessity of conclusion or understanding, while communing with the spirits that inhabit that place. Noticing that time is not linear and questions do not always seek answers.

These places enabled me to find the self that is more about me and less about how others see me.

UNITED KINGDOM (UK)

28. Louis Painter

For this brief of “place”, I wanted to tell the shared experience of loneliness and longing among Queer people. It’s often difficult for queer people to find a place they feel accepted, whether that be accepted by their families, their friends or even by themselves.

My ambition for these images were to be taken in the style of a cinematic film still as it lends itself well to the narrative of “place”, with my future hope for this project to raise awareness of how isolating it can be for all people in the LGBTQ+ community as well as giving them some peace of mind in knowing it isn’t forever.

29. Louise Goulding

A New Dystopia.
I produced these set of images on my first trip away after Covid. After getting used to being restricted for so long, I now had to get used to having my freedom back which was a strange experience. The old “normal” now felt abnormal to me and unfamiliar. These photographs capture the moment in society where we were trying to go back to what we were once used to.

30. Samantha Bailey

This project reflects combining both observational and constructed images to explore domestication, dislocation, objectification, feminism and freedom. Using the camera as a mirror to turn inwards on my life as a mother to two young children, and as a window to offer an insight into the lives of others around me that I admire, to seek place.

I see my life before and after the pandemic as two separate entities. The person I was before the pandemic and the person I am now.

Before the pandemic I believed in love and hope and now my life has literally been turned inside out, I can only hope that I can protect my children in a world where sometimes it feels like we are being trained not to think and just small toys in a dolls house used to stetch the imagination and possibilities.

Even though the Covid pandemic may have shaken us to the core, and distorted our futures, to push ahead we need to take a minute to breathe, step back and simply absorb reality and what’s in front of us in the real world. To take pleasure in the present, twists and turns and not look too far ahead. This project was made to remind us of the fragility and fleetingness of feeling in-between and out of place but also with a hope to inspire us of pleasure in the present.

31. Julieann Daly

A Sikh man in his place of worship, his peaceful calm place.

32. Amy Sanderson

Giants in the Back Garden

A photograph taken for my university project based around Fiddler's Ferry Power Station, a decommissioned coal plant very close to where I grew up. The image showcases their final stand as their inevitable demolition looms, due to the country's shift towards greener energy generation, which will change the landscape dramatically for many residents in the area.

33. Richard Purser

Allotments

Allotments look at these unique places, that people spent hours of time and effort creating. Gardening has always been something that I have been interested in, because of this allotments are something that I have been curious about. This opportunity has allowed me to be able to document multiple different allotment sites in and around Stoke-On-Trent. I wanted to echo the time and effort that goes in to creating these places, so I shot the project on medium format film. Working on film allowed me to develop my own negatives as well as craft my own dark room prints to reverberate these ideas of putting time and effort into an allotment. Over time I started to realize that the dark room had become my own little allotment where I planted seed of film, watching them sprout into negatives, then flower into a print.

34. Patrick Eccles

Images depicted in this submission to Photocitizens are part of my Documentary module while studying Photography at Staffordshire University. I decided I wanted to cover a fond hobby of mine which is called Airsoft. Airsoft is a sport where players use realistic Imitation firearms (more commonly referred to as RIF’s) that fire 6mm plastic bb’s at each other.

The documentary project attempts to outline what to expect from a day in this sport may look like in a timeline of events. Additionally, it tries to cover what Airsoft RIF’s look like, what types of equipment people use, styles, location etc.

Albeit small, the Airsoft community has been one of the greatest communities I have been a part of. People that partake in this sport are generally generous to one another. One example I have seen is players offering to help others who may need it, a lift to the game site and back.

Airsoft for me is my happy place. A place where I have met a bunch of new friends, and a community I am keen to stay a part of.

ITALY

35. Claudio Imperi

Across the river and into the trees

A river running through a city is a long twisted, complicated wound. It does not follow a precise path and forces the city and its inhabitants to modify their paths together with it. It cuts off the land in two.

But like any wound, a river is also a vein, blood, life that flows. A river is a beat, a movement, a reference.

For Rome, the Tiber has always been a wound and a life, hatred and love that cyclically prevail over each other, without the detestable overcoming the profoundly lovable , and vice versa, giving this boundless path of water, that always poetic and immortal scent.

On the way along the quays of the Tiber, the man confronts with Nature, lives on the margins and animals,  immersed in the city context.

You meet yourself, as human beings who have to take the step towards the river to understand others, to feed on emotions, to recover and experience its places.
Because the wound can healed only by listening to a river that flows, to the lives that flow alongside him.

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Al di là del fiume e tra gli alberi

Un fiume che attraversa una città è una ferita, lunga, attorcigliata, complicata. Non segue un percorso preciso e obbliga la città e i suoi abitanti a modificare i propri percorsi assieme a lei. Recide in due la terra.

Ma come ogni ferita, un fiume è anche vena, sangue, vita che scorre. Un fiume è battito, movimento, riferimento.

Per Roma il Tevere è sempre stato ferita e vita, odio e amore che ciclicamente prevalgono uno sull’altro, senza che il detestabile superi il profondamente amabile e viceversa, consegnando a questo smisurato percorso d’acqua quel sentore sempre poetico e immortale. 

Nel cammino lungo il Tevere l’uomo si confronta con la Natura, le vite ai margini e con gli animali immersi nel contesto cittadino.

Si incontra se stessi, come esseri umani che devono fare il passo verso il fiume per capire gli altri, per nutrirsi di emozioni, per riprendersi e vivere i suoi luoghi. 

Perché la ferita può rimarginare solo con l’ascolto, di un fiume che scorre, delle vite che scorrono al suo fianco.

36. Antonella Simonelli                                             

The Three Fingers Of Dolomite

The mountain is a geographical space like any other, a territory with its morphological characteristics but it is also a place rich in emotional content, when it is wrapped in a thick fogto a deep sense of mystery crosses you.

It almost seems to be at the origins of the world, the wonder of nature and at the same time  dismay, without the security of keeping the world under control, exposed to uncertainty.

These sensations become stronger when the sky is populated with black birds, they are common animals of which we know everything, but in that context they have something mythological, and they transform what you have in front of you into a magical place.

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Le Tre Dita Di Dolomia

La montagna è uno spazio geografico come qualsiasi altro, un territorio con le sue caratteristiche morfologiche ma è anche un luogo ricco di contenuti emozionali, quando è avvolta da una fitta nebbia un profondo senso di mistero ti attraversa.

Sembra quasi di trovarsi alle origini del mondo,  la meraviglia della natura e allo stesso tempo lo sgomento, senza la sicurezza di tenere il mondo sotto controllo, esposto all’incertezza.

Queste sensazioni diventano più forti quando il cielo si popola di uccelli neri, sono animali comuni di cui sappiamo tutto, ma in quel contesto hanno qualcosa di mitologico, e trasformano quello che hai davanti a te in un luogo magico.

37. Elisabetta Nottola

Stracchino and jam

She has always been my place, my place. My mother, her house, the houses we inhabited, the land we stepped on, the memories that accumulated in the old super 8s, in the photos taken by my father, in the images printed in my head. Stracchino and jam has always been his dinner, an unusual food combination, involuntarily a metaphor for a complex and contradictory relationship with me and with the rest of the world.