Daniele Sigalot, a conceptual artist who grew up in the advertising field we have already told you about, has recently made public a photographic project he has been working on for over a year. Superficial, this is the name he has chosen for this series of images taken between sea and sky, has the aim of surprising the viewer at first glance by creating a very captivating aesthetic, but also to underline a very common attitude.
“I am curious about the human approach to appearances, and how the colour contrast between smoke, water and sky prevails rather than the fact that there is a person underneath.”
But the choice to use a smoke bomb, to put it in one hand and to light it in the middle of the sea is, of course, far from random:
“The use of a smoke bomb, which in the sea takes on the meaning of a signal rocket, and therefore a call for help, adds even more tension.Before the Covid-19 it seemed that Italy’s only problem was illegal immigration, and the approach that politics, and part of the country, is easy to define with the title of this series of photos”.
Daniele’s critique of the way in which issues of great social, political and economic importance are dealt with today is perfectly summed up in his entire project but also in the way in which, ironically, he recounts it.
“From the point of view of the art market, I was then amused by the idea that the most likely of those who will buy these photos will do so because the colour of the smoke bomb coincides with that of the sofa.”
It’s states Murphy‘s first law, also the name of the young protagonist of Love, one of the most controversial films of recent times that Gaspar Noé, the director, described with three simple words: “semen, blood and tears”, an auteur porn.
Let’s say straight away, it’s not an easy film to watch, it had a complicated story from the beginning, ending up in the sights of the Russian Minister of Culture Vladimir Medinsky who, after the passage to the Moscow Film Festival and other film events, prevented its theatrical release by entering the government’s “blacklist”. It didn’t have any luck in Italy either, so much so that it wasn’t presented in the cinema, but fortunately now if you’d like to see it, it’s available in streaming or in the Netflix catalogue.
The seemingly simple story takes place in a crystallized time of half a day, in which Murphy does nothing but moves between the bedroom, kitchen and bathroom of his house, immersed in the thoughts of his head. Together with him we retrace pieces of his past stuck in anxieties of the present and questions of a future for which he does not want to take responsibility.
He is a young American boy who moved to Paris to become a director and to accompany him in these 2h and 15 minutes are Electra, his current girlfriend and Omi, the neighbor. Between the guys there is a harmony that goes beyond mere pleasure; together they will overcome every limit, translating their most intimate fantasies into reality and stripping themselves of all barriers.
They’re easy and they want to love, in their way.
As a result, the story can only be presented in the form of stylistic excess, with contrasting colour, strong play of light and 3D images that make the scenes have a strong impact.
Also this time colours play an important role, distinguishing in some scenes the personalities of the boys: apple green, harmless and light for Omi and violent and intrusive purple red for Electra.
The film’s images communicate with the same intensity as Marat Safin, a self-taught Russian photographer who placed women at the center of her projects. Women alone, women in the house, in the kitchen or lying on the bed, women immersed in nature, looking in the car or immortalized in spontaneous poses. The warm light from which they are enveloped creates an atmosphere so intimate and familiar that we become involved.
Did you know that: During the film’s press conference at the Cannes Film Festival, Gaspar Noé said the screenplay was originally seven pages long.
Genre: Drama Director: Gaspar Noé Director of photography: Benoît Debie Writer: Gaspar Noé Guest: Aomi Muyock, Karl Glusman, Klara Kristin
Founded in 2008 by Arianna Arcara, Luca Baioni, Alex Majoli, Gabriele Micalizzi, Andy Rocchelli, Alessandro Sala and Luca Santese, Cesura is an independent photographic collective whose work focuses on documentary photography. Born with the desire to be a new and autonomous force in the international panorama of photography, and to cut all ties with the current dynamics of the market, Cesura has also founded its own independent publishing house and a printing laboratory, to provide its photographers with tools and resources that allow them total expressive freedom in every phase of their work.
The publications of the Cesura Publish publishing house, established back in 2010, have received countless awards and recognitions over the years, while the fine art printing lab is the place where the members of the collective experiment with new creative and productive processes without any limits.
To celebrate their work, but also the great changes that the collective has undergone in the last year, Cesura Publish has decided to present CESURA FANZINE #03, a zine that contains the photographic work of all the artists of the collective. The old guard, in fact, was joined by newcomers who immediately set to work on this new publication that revolves around the visual, physical and philosophical idea of the word “cesura” which literally means “cut” in Italian. A special feature of the fanzine is the possibility of cutting pages to discover a selection of unpublished images taken over 12 years.
All the photos of CESURA FANZINE #03, that you can buy here, were taken by: Arianna Arcara, Francesco Bellina, Stefania Bosso, Teresa Dalle Carbonare, Maria Elisa Ferraris, Chiara Fossati, Giacomo Liverani, Alex Majoli, Claudio Majorana, Gabriele Micalizzi, Valentina Neri, Andy Rocchelli, Alessandro Sala, Giorgio Salimeni, Luca Santese, Marco P. Valli, Marco Zanella and Alex Zoboli.