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No, to pick up what Mr Rossi said under his umbrella, you don’t need the courage and the timing of Robert Capa when he took the picture of the Spanish soldier killed during the civil war. You need other qualities, because the camera does’t point at the exception, but at the daily life, not at the historical event or at the news that can be told in a single image, but at the continuity of many gestures and little life episodes. “My work on the beach – Vitali said – is not really an aesthetic-photographic reflection, but a conceptual and anthropological one. The concept consists in going up on a six meters scaffolding and, putting myself in the sea, to convert the classical point of view of the beach photography. I look at the faces of the Italians and behind them i see factories, holiday houses, small and big ugliness packed on our coasts.

And then there are the people, naked but still divided into hierarchy, that are not necessarily the social class ones. There are kids that keep repeating the same game, a sand castle surrounded by walls, a symbol of the occupation of the land that, in another way, adults continue to be committed to. I do about ten shots a day, when I realize that there is a particular atmosphere, that many things are happening at the same time: two lovers kissing, a lively discussion, the reunion of a group of friends, a family debate. The format allows, if you enlarge the detail, to recognize every single character and to notice the smallest detail, a bit of cellulite or the sign left from the swimsuit on the skin.

Dino Messina, "Gli italiani, tipi da spiaggia visti dal mare" in Corriere della Sera, August 20, 2000.
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