Apotheosis of the Herd

Vitali’s work refuses to capture the idea of the beach and instead presents its current state, packed with all the reality of today’s social concerns: overpopulation, the glorification of the banal, and the contradictory desires for independence and a cultural identity.

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Daniel Levis Keltner

How Beautiful is the City

As Massimo Vitali said in an interview with Angela Madesani, he became regarded as an ethologist studying human society, its relationships, its interactions and its spaces, with the term "Natural Habitats" being coined.

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Giacinto di Pierantonio

Looking Down

Where the realist fragment, embodied in the peeking head of Manet at the side of the Music in the Tuileries (1862) or the dangling legs of the acrobat at the top of the Masked Ball at the Opera (1873) came to stand for a new mode of figuring the immediacy of visual experience as well as a synechdocic representation of the characters that constituted the modern, Vitali’s cut off figures who enter and exit at front, side and bottom of his images, cannot help but reference the democratising languages of analogue photography, now itself fast becoming an historical medium.

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Tamar Garb

So What is a Photographer?

Many anthropological or political reasons can justify the choice of the crowded beaches, vacations in the mountains, touristy streets or discotheques, places that have been his favourites up until now. But the most important reason is the simple fact that these are places that eveyone takes photographs: a type of photography intended as un art moyen according to the title of the sociologist Pierre Bourdieu's book.

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Daniel Soutif

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.

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Anna Morettini

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.

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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.

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Taylor Barnes

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.

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Desdemona Ventroni

Beach & Disco, Pt. 2

The more we interrogate the image as our eye is drawn closer by the hallucinatory wealth of detail, the more the semiotic activity of metaphor and metonymy undermines the obviousness of documentary, leaving a productive ambivalence.

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Jon Bird

Beach & Disco, Pt. 1

The liminal connects with the carnivalesque in the suspension or inversion of normative behavior and social relations.

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Jon Bird