The artists nominated by
For FUTURES 2019, CAMERA has nominated five artists.
Domenico Camarda (La Spezia, 1990) is an Italian artist.
http://www.domenicocamarda.com
Born in La Spezia in 1990, after his bachelor’s degree in Communication at the University of Bologna, he attended an MA in Photography and Visual Design at NABA/Forma in Milan. In the autumn of 2014 he worked at Pierre Von Kleist Editions, and Pedro Alfacinha Gallery, both based in Lisbon. During this experience he learned and deepen his interest in author photography and art publishing.
In 2015, he lived and worked in London for Amelia Troubridge, as assistant photographer, curating the editing and the layout of her last publications. He currently lives in Turin where, after having collaborated for MeMo Mag, he works as freelancer.
Camarda’s artistic practice focuses on and explores themes such as the construction of identity, and collective phenomena that affect and define the lives of each single individual. Creating a series of dreamlike and suggestive images, he wants to ask questions and trigger reflections, rather than giving simple answers.
Francesca Catastini (Lucca,1982) is an Italian artist.
She holds an MA in Photography and Visual Design from the New Academy for Fine Arts in Milan.
Her work is mainly about combining: images with images, texts, or other objects, in a no-ladder like interaction, aiming at transcending the idea of separation, in order to experience different levels of analogies. People are generally attracted by the challenge of interpreting the evidence, but our understanding of the pure origin of images is often vague exactly as ambiguous is the knowledge we have about the derivation of many words. What fascinates Catastini the most is exactly this exercise of the mind, which aims at “filling a gap”, drawing from our culture, knowledge, and past experiences. She is attracted by the connection between optical and apical perception. Unlike touch, vision often implies a sort of distance and it represents the sense which is more suitable for abstracting things. In 2016 her book "The Modern Spirit Is Vivisective” won the ViennaPhotoBookAward. Her work has been exhibited internationally, including Plat(t)form 2017, Fotomuseum Winterthur; Fotografia Europea, Reggio Emilia and other institutions.
Paolo Ciregia (1987, Italy) is an Italian artist.
After experience as a reporter at the forefront of the Russian-Ukrainian conflict, in the last five years his artistic research has been focused on Ukraine context, manipulating and reworking his personal archive in a new way. Investigating and deconstructing both archives symbols and language, Ciregia aims to reveal the atrocities behind the war, destroying the propaganda patina through installations and sculptures. His work has been exhibited internationally in solo and group exhibitions. Among the major prizes are Winner of Talent FOAM Amsterdam 2016, Winner of “LOOP, Giovane Fotografia Italiana”, Festival Fotografia Europea 2017, “Honorable jury Mention” at Premio Francesco Fabbri 2016, TU35 at the Museo Pecci in Prato 2017, Winner of Leica Talent 2012
Irene Fenara (Bologna, 1990) is an Italian artist.
https://irenefenara.squarespace.com/
Her research focuses on the way of seeing and practicing observation on images. She reflects on linguistic devices and she uses optical and electronic instruments of various kinds, from Polaroid to surveillance cameras, often in an improper manner and transgressing their basic function. It becomes an instrument for observing the world, in the search for a slight poetic sense. The act of vision is the central element of her work that declines in her latest research on optical devices, often used as instruments of control, bringing attention to the always reversible overturning between who observes and who is observed. Her work has been exhibited in art galleries and public institutions, such as Fondazione Prada Osservatorio (2016), Fondazione Fotografia Modena (2017), P420 (2017), MAMbo - Museo d'Arte Moderna di Bologna (2018), Palazzo delle Esposizioni (2018), Fondazione Francesco Fabbri (2018) e Kunst Merano Arte (2019).
Giaime Meloni (Cagliari, 1984) is an Italian artist.
He is a visual researcher with a PhD in Architecture, currently living between two islands: Ile-de-France and Sardinia. The aim of his work is to explore the role of photography as a sensible instrument to narrate the space complexity. His research has been published in various publications (MAM Saint Etienne, INTRU). Giaime Meloni takes part in several International Conferences (CCA, FAUP), and also participate in national and international exhibition (Ritmo Indipendente, Pavillon de l'Arsenal). In 2017 he was shortlisted for Premio Graziadei with his long-term project Das Unheimiliche. He teaches photography as an instrument of the making of the architectural design between France and Italy. Her practice conceives an act capable of questioning the complex nature of places.
Giangavino Pazzola (Sassari, 1981) is Associate Curator at CAMERA - Italian Center for Photography
Domenico Camarda (La Spezia, b. 1990) graduated in Science of Communication at the University of Bologna and in Photography and Visual Design at NABA.
In the autumn of 2014 he worked at Pierre Von Kleist Editions, and Pedro Alfacinha Gallery, both based in Lisbon, where he learned and deepened his interest in author
photography and art publishing.
In the 2015 He lived and worked in London for Amelia Troubridge, as assistant photographer, curating the editing and the layout of her last publications.
He currently lives in Turin where, after having collaborated for MeMo Mag and ARTUU, he works as freelancer and on its own research projects.
Camarda’s artistic practice focuses on and explores themes such as the construction of identity, and collective phenomena that affect and define the lives of each single individual. Creating a series of dreamlike and suggestive images, he wants to ask questions and trigger reflections, rather than giving simple answers. His works have been exhibited, among others, at the Triennale of Milano and CAMERA of Torino.
Francesca Catastini (Lucca, 1982) is an author based in Tuscany. She holds an MA in Photography and Visual Design from NABA Academy in Milan.
In 2016 her book "The Modern Spirit Is Vivisective” won the ViennaPhotoBookAward. Her work has been presented and exhibited internationally, including Plat(t)form 2017, Fotomuseum Winterthur; Fotografia Europea, Reggio Emilia; Benaki Museum, Athens; Noorderlicht Photofestival, Groningen; Emerging Talents, MACRO Factory, Rome; Festival Circulations, CENTQUATRE-PARIS, Paris; and Palazzo delle Esposizioni, Rome.
Her latest work Petrus, published by Kehrer Verlag, reflects on a certain rhetoric of masculinity in Western culture. Through a cynical, tender and arbitrary analysis of what probably cannot be sliced and diced Francesca Catastini plays with archetypes and images considering the way they sculpt ourselves and shape our views. Looking for subtle discrepancies her images go beyond their figurative meaning in order to activate new analogies and connotations.
Paolo Ciregia (b. 1987) is an Italian artist. After experience as a reporter at the forefront of the Russian-Ukrainian conflict, in the last five years his artistic research has been focused on Ukraine context, manipulating and reworking his personal archive in a new way. Investigating and deconstructing both archives symbols and language, Ciregia aims to reveal the atrocities behind the war, destroying the propaganda patina through installations and sculptures. His work has been exhibited internationally in solo and group exhibitions. Among the major prizes are Winner of Talent FOAM Amsterdam 2016, Winner of “LOOP, Giovane Fotografia Italiana”, Festival Fotografia Europea 2017, “Honorable jury Mention” at Premio Francesco Fabbri 2016, TU35 at the Museo Pecci in Prato 2017, Winner of Leica Talent 2012.
Irene Fenara (b.1990) is an Italian artist. Her research focuses on the way of seeing and practicing observation on images. She reflects on linguistic devices and she use optical and electronic instruments of various kinds, from Polaroid to surveillance cameras, often in an improper manner and transgressing their basic function. It becomes an instrument for observing the world, in the search for a slight poetic sense. The act of vision is the central element of her work that declines in her latest research on optical devices, often used as instruments of control, bringing attention to the always reversible overturning between who observes and who is observed. Her work has been exhibited in art galleries and public institutions, such as Fondazione Prada Osservatorio (2016), Fondazione Fotografia Modena (2017), P420 (2017), MAMbo - Museo d'Arte Moderna di Bologna (2018), Palazzo delle Esposizioni (2018), Fondazione Francesco Fabbri (2018) e Kunst Merano Arte (2019). She is one of the fifth finalists in ING Unseen Talent Award 2019.
Giaime Meloni is a visual researcher with a PhD in Architecture, currently living between two islands: Île-de-France and Sardinia. The aim of his work is to explore the role of the photography as a sensible instrument to narrate the space complexity. His researches has been published in various publications (MAM Saint Etienne, INTRU). In 2017, he was shortlisted for Premio Graziadei with his long-term project Das Unheimiliche. He teaches photography as an instrument of the making of the architectural design between France and Italy.
My practice is conceived as an act capable of questioning the nature of places.
The images provide a tangible proof of my presence in the territory, in a certain way they documented it. However I would like to take distance compared to the documentation – and strictly documentary photography – in order to provide a more universal reflection on our relationship with the space.
The photographic action that I develop aims to questioning the restitution of ordinary space in search of a visual and spatial connection with the subject. The specific interest of this practice is to investigate, by theory and practice, the photographic instantaneity and the message that it carries.
The paradox of images is that they pretends to reproduce things which are only themselves. But this is only an illusion, a conviction that is a part of the magic contemplation. In fact, during the act of photographing, I realize that things denying their existence by the image.
What it remains frozen into the fragments is the (artificial) reflection of reality as an intention of my gaze.
Every photos prove that there is an implicit message exceeding the limits of the image itself. I accept that the message of the images can be corrupted / destroyed at any time by the viewer / reader.
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