Irreverent or politically incorrect artist. His studio, which reflects his personality, can be compared to one of the studios of artists belonging to the Scapigliatura movement. With Giuseppe I was unable to make the portrait in the place that I had carefully chosen and planned since at least 2 months.

It was for a trivial reason: Giuseppe had gone the wrong way. After an hour of driving we found ourselves 60km away from the planned location of the set and we still didn't have much time left for the shoot.

In the space of 15 minutes, in an area on the outskirts of Milan unknown to me, I had to find a plan B that worked or I would have had to give up on the artist, which I didn't want to do.

In this tense situation, Giuseppe, with his unique way of doing, turns to my husband and me asking: "How about a coffee?”

My answer was a categorical NO!

It was after a few minutes that I saw a large flea market and that image gave me the right inspiration. We went in and, after a brief inspection, I ask the owner if I can take some photos.

After having told me "do what you want", Alessandro and I started to set up the set moving like a war machine, among the most disparate objects under the eyes of curious people.

I portrayed Giuseppe with the same principle used for the other artists that is inside a frame that referred to his own works, and so it was.

Satisfied and having fun, we left the warehouse after Giuseppe had bought several vinyls. We go back to his studio and, once we get off the car, Giuseppe throws away the shoes used in the set. He said that, after having observed them well during the shooting, he didn't like them anymore. He gave me his autographed catalog which I jealously keep together with the other gifts that other artists gave me after the portrait.

A sort of pact of friendship and Art.

Print Size: cm 48,1 x 64,3 - inches 19 x 25,3


Sara Aliscioni



Sara has been dedicating herself to photography and photographic calligraphy since 2006. She matured the artistic matrix from her father, musician and composer, who led her to explore not only the world of theater, to which she dedicated herself for several years both as an interpreter as a stage photographer, but also of music, studying classical music theory and playing bass for several years, as well as cinema, influenced by the Centro Sperimentale di Cinematografia where her father worked as a sound engineer.

In addition to the various courses on photographic techniques and workshops dedicated to travel reportage, he attended the training promoted by the MoMA on photography as a means of individual artistic expression, as a technique for exploring and documenting the reality as well as a tool for communication and criticism of society and our culture. Subsequently, driven by an interest in history that draws on photojournalism as a primary source, she followed the course on the use of images, films and their historical interpretation in the 20th century with the University of London & Royal Holloway.

Among the activities followed, Sara has curated various photographic backstage works, the last of these at the Macro Museum in Rome. After having increased her knowledge, she has also matured her style thanks to the continuous and daily training of the artist Alessandro Bavari.

United by photography as an expression of art, as well as by their personal bond, together they created the book Kill the Covid! a rural horror photographic mockumentary set in Italy, faithful to their artistic, visionary and provocative style.


The photographic choice oriented towards Reportage and Street Photography, features strictly black and white calligraphy. Inspired by the language of the Hungarian director Béla Tarr, Sara Aliscioni offers images made of symbolism, drama and poetry in an objective but at the same time sentimental interpretation, describing the harsh reality that sees man at its center in familiar and everyday contexts. The common thread is always the search for beauty even when what surrounds the subject is decadent, dark and forgotten.



Extended Editorial


Milan, Italy


Giuseppe Veneziano




Sara Aliscioni








Extended Editorial

Can be used to display privately, or in commercial and non-commercial settings, or in groups with an unlimited number of participants. The license includes unlimited use and display in virtual or physical galleries, documentaries, and essays by the NFT holder. Provides no rights to create commercial merchandise, commercial distribution, or derivative works.

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