Reportage
Sul quotidiano olandese De Volkskrant è uscita una selezione di 14 fotografie dal mio reportage su Predappio e i nostalgici fascisti.
Il testo dell’articolo è della giornalista Rosa van Gool. La photoeditor è Veronique Smedts.
L’articolo originale è qui: Waarom Italië Mussolini vereert en zijn zwarte verleden verzwijgt
Su National Geographic USA è uscita parte del mio reportage su Predappio e i nostalgici fascisti, all’interno dell’articolo “How Mussolini led Italy to fascism—and why his legacy looms today“, della giornalista Erin Blakemore.
L’articolo originale è consultabile a questo link:
How Mussolini led Italy to fascism—and why his legacy looms today
Lo stesso articolo è uscito, tradotto, su altre edizioni.
- National Geographic Regno Unito
- National Geographic Francia
- National Geographic Spagna
- National Geographic Olanda
- National Geographic Giappone
Per OZY, il magazine statunitense, ho intervistato e ritratto alcuni personaggi e cittadini di Predappio, in vista del Centenario della Marcia su Roma che verrà celebrato a fine ottobre!
Di seguito qualche fotografia dal reportage.
Il mio lavoro "Foundations of a mirage" è stato nominato al "Leica Oskar Barnack Award" di quest'anno.
L’essere stato selezionato per questo premio prestigioso è, per me, un grande onore e piacere e un ulteriore stimolo nel continuare a lavorare con il massimo impegno!
Maggiori info su lavoro qui: https://www.filippoventuri.photography/blog/dubai-expo-mirage
Questo invece è il sito ufficiale del premio: https://www.leica-oskar-barnack-award.com/en
Ukrainian Classic Ballet, “Giselle” – Teatro per l'Ucraina
Teatro Alessandro Bonci, Cesena, Italia, 19 Maggio 2022
Interessante la vicenda degli ucraini - solisti e ballerini dei teatri nazionali dell'Ucraina (Opera Nazionale dell'Ucraina, Teatro Taras Shevchenko, Teatro dell'Opera e balletto di Odessa, Teatro Accademico di Kharkiv e Opera Nazionale di Lviv) - che si trovavano in tourné in Europa al momento dello scoppio della guerra e che in seguito sono stati ospitati da ERT - Emilia Romagna Teatro Fondazione e altri teatri nazionali italiani, consentendogli di continuare a lavorare e inviare aiuti economici ai familiari in patria.
Su In Sight, del Washington Post, è uscita una selezione del mio lavoro fotografico "Eyes wide shut" sul Ballo del Doge, che ho documentato per 4 anni durante il Carnevale di Venezia!
Grazie al photoeditor Kenneth Dickerman.
L’articolo originale è qui: https://www.washingtonpost.com/photography/2022/04/21/photos-venices-over-top-il-ballo-del-doge
On In Sight, the Washington Post’s photography blog, a selection of my photographic work "Eyes wide shut" on the Ballo del Doge, which I documented for 4 years during the Venice Carnival, has been published!
Thanks to photoeditor Kenneth Dickerman.
The original article is here: https://www.washingtonpost.com/photography/2022/04/21/photos-venices-over-top-il-ballo-del-doge
Su Vanity Fair Italia (cartaceo e online) è uscito il mio reportage fotografico sulle famiglie ucraine che hanno trovato rifugio in Italia!
L'articolo è di Alessia Arcolaci, photeditor Alice Crose.
Sul magazine ucraino Bird in Flight, Olga Bubich mi intervista sul Kazakistan e sul mio lavoro fotografico “2030 Birth of a Metropolis”, svolto nella capitale Astana (oggi ribattezzata Nur-Sultan)!
L’articolo integrale qui: https://birdinflight.com/ru/vdohnovenie/fotoproect/iz-nur-sultana-bez-lyubvi.html
Sul Resto del Carlino (edizione di Forlì) del 23 gennaio 2022 trovate l'intervista che Maddalena De Franchis mi ha fatto sul lavoro "2030 Birth of a Metropolis", sul Kazakistan!
Foundations of a Mirage
Dubai, United Arab Emirates, 2021 - Ongoing
2021 is an important year for the United Arab Emirates, which is celebrating the 50th anniversary of its and hosting EXPO 2020 (postponed by a year due to the COVID-19 pandemic) in Dubai, the country’s most important city, considered the “New York of the Persian Gulf”.
The fate of the UAE took a drastic turn with the discovery of oil in Abu Dhabi in 1958 and in Dubai in 1966. Even today, over 85% of the country’s economy is based on exports of natural resources. In recent years, the construction boom has driven the country’s government to invest in very expensive infrastructure, in Dubai itself, chasing various records, such as the Burj Khalifa, the world’s tallest building; the Dubai World Central International Airport, the most expensive airport ever built; the three Palm Islands, the largest artificial islands in the world; the Dubai Mall, the largest shopping mall in the world; Dubailand, an amusement park that is supposed be twice the size of Disney World (which, however, has suffered severe delays due to the recent economic crisis).
The population of the UAE is around 10 million, of which 11% are citizens of the United Arab Emirates and 89% are foreigners (mostly immigrants from India, Pakistan and Bangladesh).
Although for some time now the country, also through the EXPO, has been attempting to tackle important and current issues such as sustainability (accessibility and resilience of environmental resources, energy and water), in practice it relies on a system that has very little that is sustainable and modern about it, i.e. the exploitation of low-cost migrant labour to create works that aim to be the largest/tallest/most impressive etc. to the world, whose goal is to support a purely Western type of consumerism, even at the cost of distorting the traditions and culture of the country itself, resulting in an artificial, contradictory reality.
Thanks to its reflective surfaces and the use of futuristic technologies, Dubai’s show of modernity can dazzle and distract from the actual situation, where capitalism reigns supreme. Even so, however, it is not difficult to notice the army of workers ready to clean and disinfect anywhere suitable for hosting visitors, including the streets, or in charge of directing tourists and satisfying their every need.
The dark side of Dubai has many facets, including that of being a tax haven capable of attracting people and money whose origins are “hazy” to say the least, but it is on a human level that the cruellest face of this reality can be found, where workers are treated like commodities, also through what is known as the kafala, a system of exploitation that shares some characteristics with human trafficking. The result is therefore a form of contemporary slavery that goes unnoticed because to visitors, Dubai appears to be a wonderland, whose hardly “sustainable” foundations, however, they fail to see.
