Specially Written Contributions

Scampia and the Multivan

I needed to stay calm. It wouldn’t help to be mad at the concierge and I needed to find a good reason in order not be killed.
The Americans will kill me, Vitali will kill me and even the body shop will kill me in order to be paid.

Carola Clavarino

Only Humans

So the wonder is not "who are they? where are they?" but the wonder about the superseding vision that they are the figuration of. It is my presumption to see in that vision a disconnection among crowds of people, even an expansive loneliness of each person in the crowd; but, I must emphasize, his works are in no way comments about society.

David Plante

Massimo and Morel: “We are fishers of the future”

“We are fishers of the future”, I joked, with a suggestion of sarcasm, during the wait between one shot and another. I now realize how that affected wit was misleading and pertinent at the same time: what Massimo was waiting for wasn’t an event to capture in the frame, but exactly that embryo of movement to trigger during the observation of the photo. I was merely thinking about the “here and now” of the image’s production, whereas he was thinking about the “after and elsewhere” of the reception.

Alessandro Baratti

Massimo and Veronica

I can perceive neutrality in his shots, even a certain indifference. But it is exactly that, I have come to understand, the power of his frames: the intrinsic possibility for the point of view to be changed, even its ability to be reversed, the shot susceptible of being shifted to reverse shot.

Alessandro Baratti

A Little Revolution

Massimo walks around for a while, trying to understand where to position his camera, where to place the tripod, where to get the best angle, and then he waits. It must be an old habit learned from many years spent with the 20x25 camera, where the use and the realization of the image is completely different compared to a normal hand-held camera: you don’t have to understand where to put your subject, but where to put the camera. A little revolution.

Valerio Spada

That is Photography

Getting closer to the print, I started to see thousands of smaller pictures within the photograph. I got closer; I watched the faces; the arms up in the air, as if they were frozen. How could he possibly use all those flashes in a disco at night? Why did he choose such a heightened perspective? These technical thoughts were quickly swept away by another face, another gesture, by two suspenders, a red dress, by haircuts that look strange today, but which were probably or rather surely in fashion at the time of the shot.

Valerio Spada

The Surface where Nothing is Reflected

This image releases us from the danger of the gaze, from the conflict and the spectacle, from the visual tour de force of iconic photography and the ease of minimalism. The image leaves us waiting in front of people that are waiting.

Yann Tostain

Disturbed Coastal Systems

The tension between human habitat and the natural world is always present in Vitali’s work, yet is even more emphasized in the current pictures. In one, the massive Praia da Torre Fortress shadows a beach in Portugal; in another, the Praia do Moinho juts out into the water, less protective than glowering—though whether it menaces the ocean or the swimmers depends on your point of view. Concrete pools box off becalmed sections of water from adjacent rivers and seas, or a concrete pier juts out beyond a beach, its hard rectangular lines in unavoidable contrast—conflict?—with the sinews of sand and surf. What land is visible is often sere and forbidding: rock cliffs in which wispy shrugs have taken tentative hold, gravelly beaches, lumpy hills covered in dry grass.

Press release of the exhibition "Disturbed Coastal Systems" at the Benrubi Gallery, New York, April 20 - June 17, 2017.

Benrubi Gallery

Reshaping the World

Vitali’s scenes are at far less of a remove, hierarchically or psychically, from the demos. As viewers, we are amongst their number, sharing space, in spite of our elevated vantage, as if we have just come upon the scene. I find myself looking for bodies resembling my own or those of lovers or friends, and this inclusiveness of the viewer as a part of the crowd gives the work a surprisingly egalitarian ethos.

Lucas Blalock

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