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

Natural Habitats

In the human communities photographed by Massimo Vitali there are specific kinds of modern (even definably Mediterranean or American) social habits to be observed in some of their characteristic configurations.

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Whitney Davis