2024
Nine silent video channels bring the landscape of Milan’s Parco delle Cave into dialogue with historical photographs by Ennio Vicario and images Alessandro took in 1981. The changing landscape intertwines with family memory, unfolding through fragments shaped by the rhythms of nature and the viewer’s attention.
2015 – ongoing
Seen close up, tree bark evokes maps of unknown territories. Forms, colours and traces of life invite reflection on memory and on the transformation of organisms that seem still, yet remain inseparable from the changing life around them.
2010–2011
During Urban X at Red Gallery in Milan, visitors were invited to speak freely about the city on camera, without a time limit. These “talking ID photographs” bring together spontaneous accounts that differ in length, tone and perspective on urban life.
2009
Moving figures pass the surviving stretches of the Berlin Wall. The contrast between blurred bodies and the sharply defined wall brings human passage into relation with the memory of the place and the instability of the present.
2008–2010
Colour is isolated from the natural forms that produce it. Moving between light and shadow, shifting hues and almost monochrome surfaces, the photographs hover between the material landscape and abstraction, leaving viewers to recognise or imagine what emerges.
2008
Flowing water and apparently motionless stone reveal different rhythms of change. Photographs made at Ponte Oscuro and the Bagni di Craveggia observe their meeting: even what seems still is continually being transformed.
2007 – ongoing
A line separates the sky from the sea or a field of snow. As this essential presence meets the variations of light, the landscape becomes a space for observation, waiting and silence.
2007–2008
Photographs of abandoned hamlets in the Stura Valley meet, in the book, the voices recorded by Nuto Revelli and the testimony of shepherd Angelo Bruno. Images and accounts bring renewed attention to places and memories threatened by oblivion.
2004
After Lalla Romano’s death, her untouched home becomes the setting for an exploration of absence. The photographs concentrate on imprints, old photographs and objects: material presences that make the life no longer there all the more palpable.
2003–2009
Close views of the Berlin Wall isolate cracks, nails, paint and repairs. Concrete becomes a skin marked by time: a surface of traces and possible forms that extends beyond the monument’s familiar image.
2003
The windows of the Palast der Republik reflect parts of Berlin Cathedral as strangers pass along the pavement. Made over a few minutes with the framing held fixed, the sequence allows the movement of passers-by to provide the only variation between images.
2002–2004
Frontal views interrupt the flow of the city, isolating façades in a suspended moment. The photographs’ apparent objectivity offers no definitive reading: it creates a distance from which even familiar places can be questioned anew.
2001
A room and a camera are the two meanings held within the title. Following an opening image of textured glass, three sequences observe light, objects and surfaces in a room charged with memories. The time of the photograph meets that of memory and of looking.
1999–2001
Time leaves traces of lives lived, remembered or forgotten on domestic walls. In a home connected to a loved one, photography isolates these material marks and transforms them into presences where memory and oblivion meet.
