Firenze Via Via

From comedy to tragedy, from tragedy to indifference. The individual quest is always ignored and people look away just as Gods and folks did when Icarus fell the way Brueghel painted his fatal flight.


Anna Morettini

Jours de Fête

So, what draws us to his work which is really like no other: the sweeping panoramas he chronicles perched en haut like a stork, the kind of sublime anonomity and "everyman'ness" of what he captures or our own nostalgia at these temporal but restful "jours de fête"? 


John Armbruster

Piscinão de Ramos

No explanations, comments, or records. I have been on the lookout for a few days now. They don't pay any attention to me anymore, and are no longer afraid of me. They just run around playfully.


Maurice Soustiel

Rio de Janeiro through the eyes of Massimo Vitali

Looking over his photos afterward, Massimo told me: “I like it. They look bored.” Because Rio’s in-between moments are where the Cariocas retreat from the extremes and into their own imaginations.


Taylor Barnes

Bodies in water

Vitali conducts his human beachcombing from atop a custom-made perch, which hoists him twenty to thirty feet in the air, overlooking the bodies that are happily oblivious of his scrutiny. The panoramas that result are social studies, at once skeptical and celebratory. Bodies afloat, bodies baking, bodies submerged, bodies apart, and bodies together - his European bathers seem interchangeable at first glance, but under scrutiny grow as particular as the landscapes that surround them.


The Paris Review

The Photographer’s Finger

Vitali’s images, where he combines the detached tone of Walker Evans’ Straight Photography and the suggestiveness of the big screen, distinguish themselves for their frontal view and for the transversal depth of the shot that, like cinematographic film in Jeff Wall’s light box, suggests a possible extension of the visual flow beyond the limits of the photograph’s white border.


Desdemona Ventroni

Beyond the Sea

I shoot very few pictures. If I have problems I shoot more, but if I’m sure that I have a good picture I shoot maybe only two of a particular subject. In the last 19 years I’ve shot 4,700 negatives or digital photos.


Jason Edward Kaufman

Massimo Vitali captures the architecture of leisure

For Vitali, architectural structures play the role of backdrop or scenery, secondary to the interaction of the anonymous characters and crowds within the photographs,’ explains gallery director Roxanna Farboud. ‘Rather than the focus being on the location or the beauty of the images, his works are a comment on us and our society; capturing unguarded social interaction.’


Hettie Judah

Puppeteer from the Past

It is almost thirty years since Vitali abandoned conventional reportage. His back catalogue remains locked away and he hides the key. However occasional glimpses are beginning to emerge of a remarkable early chapter in his career that maps a cataclysmic period in Italy’s modern history. What makes the work so poignant is the contrast with his later work in which he takes back control of the photographic concept to emerge less as the journalistic puppet and more as the consummate puppeteer.


Roger Hargreaves

A Conversation with Massimo Vitali

When you look at a classical painting, you see that the canvas is filled with various levels from ordinary people and soldiers to kings, angels and then, finally, God, with a few little pieces of landscape here and there. My idea, having grown up with this imprint, was to develop photos with very little empty spaces.


Joerg Colberg