The interest in playful spaces, such as discos, parks and especially beaches, stems from the possibility of following with a photographic eye what is happening on a social level, as if they were tranche de vie to be fixed and revived through a shot.
“Entertainment places are in tune with my photographic research. If I take a picture in a square, the atmosphere is very confused: people walk in different directions, often their backs are turned, they have no precise interests. Whereas on the beach most turn their gaze towards the sea and rest, they are more static or focused in precise activities anyway. It is a non-dispersive place and respects an order in the arrangement, which I consider fundamental. Then there are paradoxical situations such as discos. Until the Nineties, particularly in Versilia and Romagna, they were important gathering places. The disco was a way of life. The beach, on the other hand, is a world that changes but always remains the same.”
That Adriatico Kitsch (Adriatic Kitsch) as Pier Vittorio Tondelli defined it, which is empowered by nighttime entertainment, sand, and sea: “The postmodern Adriatic Riviera. A summer cosmogony of the national-popular libido that, in spite of decades, trends, and recessions, persisted, more or less, intact, in the customs and manias of our people, so that once again on the right flank of the national shores the parade of desire is staged in a mixing of ancient forms and brand new attitudes“.1
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