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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    This Is Not A Feminist Poem – Wana Udobang (a.k.a. Wana Wana)

    from AFROWOMEN POETRY – Three Poets from Tanzania: Langa Sarakikya, Gladness Mayenga, Miriam Lucas

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    BOW / BHUK – Parimal Bhattacharya

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    A Very Different Story (Part II)- Nandini Sahu

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    The Aunt: An Exhilarating Story by Francesca Gargallo

    THE PROGENITOR – Zakir Talukder (trans. from Bengali by Masrufa Ayesha Nusrat)

    Stalks of Lotus – Indrani Datta

    Love in Africa and the Variety of its Declinations:  Short-story Tasting from Disco Matanga by Alex Nderitu

    Love in Africa and the Variety of its Declinations: Short-story Tasting from Disco Matanga by Alex Nderitu

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    FLORAL PRINT FLAT SHOES – Lucia Cupertino

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    The Red Bananas – N. Annadurai

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    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

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    Aadya Shakti, or Primal Energy – Lyla Freechild

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE TIME HAS COME – Gaius Tsaamo

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    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” – Massimo Ceresa

    Plowing the publishing world  – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Plowing the publishing world – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

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    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

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    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

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    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

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    Glory to the Heroes! Poems by Volodymyr Tymchuk

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    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

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    Phoenix: Part I – YIN Xiaoyuan

    Surrender to Our Explosive Democracy – Five Poems by Serena Piccoli from “gulp/gasp” (Moria Poetry 2022)

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Me and French, or What I Did During the Pandemic (Moi et le français, ou Ce que j’ai fais pendant la pandémie) – Carolyn Miller

    Becoming-animal as a Mirror – Ten Animals from Gabriele Galloni’s Bestiary

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    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

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    REFUGEE TALES July 3-5:  Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    REFUGEE TALES July 3-5: Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE  FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

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ON “ITALIANA” PHOTOGRAPHIC ANTHOLOGY BY GIULIO RIMONDI-Introduction by Christian Caujolle

November 20, 2017
in Interviews and reviews, The dreaming machine n 1
ON “ITALIANA” PHOTOGRAPHIC ANTHOLOGY BY GIULIO RIMONDI-Introduction by Christian Caujolle
ON “ITALIANA” PHOTOGRAPHIC ANTHOLOGY BY GIULIO RIMONDI-Introduction by Christian Caujolle
ON “ITALIANA” PHOTOGRAPHIC ANTHOLOGY BY GIULIO RIMONDI-Introduction by Christian Caujolle
ON “ITALIANA” PHOTOGRAPHIC ANTHOLOGY BY GIULIO RIMONDI-Introduction by Christian Caujolle
ON “ITALIANA” PHOTOGRAPHIC ANTHOLOGY BY GIULIO RIMONDI-Introduction by Christian Caujolle
ON “ITALIANA” PHOTOGRAPHIC ANTHOLOGY BY GIULIO RIMONDI-Introduction by Christian Caujolle
ON “ITALIANA” PHOTOGRAPHIC ANTHOLOGY BY GIULIO RIMONDI-Introduction by Christian Caujolle
ON “ITALIANA” PHOTOGRAPHIC ANTHOLOGY BY GIULIO RIMONDI-Introduction by Christian Caujolle
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All the photos in the gallery are from Giulio Rimondi’s anthology, ITALIANA, Kehrer Verlag Heildenberg, Berlin, 2016.

Excerpts from the introduction to Giulo Rimondi’s  ITALIANA, Kehrer Verlag Heidelberg, Berlin, 2016.

 

ON ITALIANA — CHRISTIAN CAUJOLLE

As a matter of convention, because it is easy, or simply out of habit, we allow ourselves to classify photographs by genre, to find compartments or labels for them. This is especially the case today, when so many images are available and circulate so rapidly that, in the end, it is impossible to really look at any of them. There are two types of classifications: those that apply to the genres, which, generally speaking, are inherited from pictorial traditions, such as landscape, still life, or portrait; and those that apply to a professional practice or means of production, such as so-called fashion, wedding, or travel photography.

At first glance, Giulio Rimondi’s photographs seem to belong to this latter category. They appear to be part of the deep tradition of travel photography, influenced by the long history of producing images or drawings of the landscape which, once separated from their cartographic mission, quickly assume the responsibility of conveying the “feeling” or “spirit” of a place by transcribing elements of its geography. In the early years of the craft, pho- tographers repeatedly turned to the landscape.

[…] This long preamble will not be unwelcome for those who wish to understand the approach, practice, and photography of Giulio Rimondi. It is clear that his Italy is in contrast to what is normally seen, at odds with the way the majority travel it and render it in their visual reproductions, seeking the immediate, satisfied with the obvious, maybe even finding comfort in what is recognizable.

This solipsistic Italy evidently has nothing in common with what is seen in geography textbooks, keepsake albums, and tourism pamphlets. It is unique, impossible to co-opt into anything beyond the vision of the person upon whom it is based. There are obviously plenty of landscapes: magnificently diverse, not in their reflection of the country, but rather in the emotions of the traveler. Landscapes that remind us that this imagery is invented by the observer. A “thing” that does not exist in nature, but has been fashioned by the viewer, who determines the frame, depth of focus, and perspective, and brings to the surface what the photographer as an operator of the senses has experienced in three dimensions. We can speak at length about the color, about a palette with no pretensions, yet with a touch of stridency, which corresponds to that which triggered the interest and the shot, which animates the rectangle, spices it; a color that is all the more discreet because it is a mere complement, which does not seek to describe or define. We can notice the fact that the layers of gray in the black-and-white images are in tune with the serene tones of the color. We can find examples of obvious seduction in image after image, which gives rhythm to the journey. But that would destroy the essential, which does not arise so much from the visual arts as it does from the world of music: This voyage is a gentle lilt, a quiet music that meanders through the night with joy. Nothing is definitive, if only for the fact that it is photography we are talk- ing about; what was experienced is now definitively gone, and what remains are images that are engorged with a strange temporality, impossible to locate on a calendar, definitively impossible to date.

[…] Yet this is clearly today’s Italy; and while there is no nostalgia, there is indeed an enormous tenderness. Furthermore, from what can be seen, the photographer recognizes himself in the people he meets, in those he approaches and whose images he preserves. He is one of them, a contemporary Italian who, contrary to most, looks at his country from a slight distance and with a great openness to the potential joys of travelling within it. In the end, this vision of Italy becomes as much a self-portrait as a subjective vision of a territory. A self-portrait of a traveler who is not interested in anecdotes, who allows himself to be transported by the rhythm of his path, doubtlessly as a means to better understand himself. There is a form of wisdom in this voyage with no destination, with no veritable “goal.” Yet there does seem to be a guiding philosophy that binds this collection of images: Know thyself.

As for Giulio Rimondi, he embarked on a true voyage among the countries that were closest to him. He undeniably shares the travel philosophy of Nicolas Bouvier, to whom he makes reference, seemingly driven by memories of his own childhood, those of his mother taking him out with no particular destination, with no prior expectations. His voyage is a calm wandering or, more aptly, a way of using movement to put oneself in a state more favorable to perceiving that which we barely ever notice: the light at the end of the day, the undulations of a landscape that impose upon a byway, a tiered walkway that, once we stop to observe it, seduces us with its harmony. In truth, the moment we make ourselves the least bit available, everything becomes interesting, at times curious, even mysterious. And these infinite situations, which resemble what André Kertész called “the little nothings,” can become a reason to photograph. There are, of course, a lot of them—hundreds of memories of moments in Italy; and whether they be in color or black and white, they seem to maintain

And this is how, just as we have the sensation of being plunged into landscape and travel photography, we find ourselves alongside a unique style of portraiture and self-portraiture. Photography is misleading.

Photos from Giulio Rimondi’s photographic anthology, ITALIANA are included in the Photogallery of thedreamingmachine.com issue N. 8 with a very interesting review by photographer Salvatore Piermarini, and some are scattered  throughout the journal  as oneiric visual supplements to the text.

For a glimpse at the anthology, see this link on Vimeo https://vimeo.com/208792653


 

Giulio Rimondi was born in Italy in 1984 and received  a Bachelor in Literature and History of Art from the University of Bologna.  His  art photography  is combined with socially committed reporting,  focusing especially  on Mediterranean identity. His photos are included in  the Maison Europénne de la Photographie collection in Paris, in  the Library of Congress collection in Washington DC, in  the Historical Archive of the Venice Biennial, of the CRMo Collection of Italian Contemporary Photography as well as many private collections worldwide. His work has been displayed in solo and collective shows internationally,  as well as in art galleries,  museums, photo festivals and art fairs. As photojournalist he has contributed to international publications such as TIME, CNN, The New York Times-Lens, National Geographic, Le Monde, Leica Fotografie International among others.

To find out more about Christian Cajoulle, please read the following interview:

http://www.vogue.it/en/photography/interviews/2015/02/23/christian-caujolle/

 

Tags: Christian Caujollecontemporary ItalyEuropeGiulio RimondiItalianaPhotohraphyportraiture

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