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LUCA PANNOLI PORTRAIT

Luca, a shy person who doesn't like to be photographed. Yet he enthusiastically joined the project. We met in his Turin bin front of the place I chose for the set: the helical ramp built in 1926 to lead the cars, from the Lingotto factory, to the test track above the roof following a rigorous functionalist design. The artist's first virtual installation prompted me to search for this place, a FIAT 500 suspended high up and lit in Piazza Castello in Turin.

Seeing the ramp from below was surprising, it almost felt like being inside a large spiral capable of sucking you upwards. The building was one of the main Italian examples of architectural modernity and Luca, as an architect, confessed to me that he was very attached to this industrial monument of the city.

We took a lot of shots and, especially for Luca's shooting, I had a lot of difficulty having to choose just one: I selected several suggestive photographs that evoked in me the vision of Béla Tarr and the painting of Edward Hopper.

Among these, I chose the one in which Luca looks at the lens because that visual dialogue emerges between the photographer and the person being photographed, a dialogue that continued during the day spent together with my husband Alessandro and his wife Cristina.There were no people the day of the shooting, as inside a scene of a Fritz Lang movie, as Luca defines it. the ramp was free for us. This allowed us to admire it in silence, immersing ourselves in an infinite vision.

Print Size: cm 48,7 x 63,5 - inches 19,2 x 25

Creator

Sara Aliscioni

saraaliscioni.eth

BIO

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.

ARTIST STATEMENT

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.

Properties

Rights

Extended Editorial

Location

Helical Ramp of the Lingotto Factory, Turin, Italy

Subject

Luca Pannoli

Genre

Portrait

Artist

Sara Aliscioni

Edition

1/1

Dimensions

4794x6256

Filetype

JPG

License

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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