Fabrizio Nacciareti, born in Rome in 1981, graduated from the Higher Institute of Photography and Integrated Communication there. His early work involved travel and geographic reportage. Later he pursued social photography, looking for stories and figures out of the collective imaginary. In 2009 he joined”OnOff Picture”, an Italian agency of photojournalism and reportage. He has since collaborated with the most important Italian and international magazines. He is currently a freelance photographer, based in Rome.
A user experience/product designer by trade, I am a self-taught contemporary Indian artist and photographer, actively seeking multi-dimensional conditions and emotions through my photographs. Initially photography was a newfound medium into which to channel my creative energy alongside painting. I have been engaged in street photography since 2013, capturing moments from the streets without any predefined purpose or set agenda.
“I am not a photographer,” says the Italy-based Ornella Mignella, known on Instagram as @miss_golightly_the_cat and otherwise very reticent about herself. “Photography is my therapist. It helps me to accept myself and what happens to me. Acceptance is not resignation but a form of consciousness raising, an instantaneous clarity of thought captured in a picture. I use my iPhone 5 and some apps to edit my photos.”
Peter never came back
I play the role of Wendy, who waits for Peter Pan until her death. She lies on the floor, we don’t know if she tries to fly to reach Peter or dies of missing him. Her death is every existential failure, it is my generation’s failure, our broken dreams. Peter is everything we can’t reach, something we lost forever.
We only know that he flew away with Tinker Bell. Wendy flew away too.
About mid-way through his Nobel Prize lecture, read by Mohamed Salmawy at the Swedish Academy in 1988, the acknowledged father of the Arabic novel Naguib Mahfouz (1911-2006) made the point that Europeans “may be wondering: This man coming from the third world, how did he find the peace of mind to write stories?” It’s a remark that has remained with me, not so much because it implies, absurdly, that no one from a third-world country is supposed to have either peace or mind enough for literature—it particularly annoys me when, addressing his European audience, Mahfouz goes on to say they’re “perfectly right” to be posing that question—but because this presumption of deprivation or lack, of writing being something over and above ordinary living and working, seems in a way to underlie the Egyptian novelist’s collective self-image. And, especially now that Egypt is barely surviving institutional collapse and civil conflict—something that despite war, regime change, and the turn of the millennium, never happened during the 94 years of Mahfouz’s life—as a person who lives in Cairo and writes novels in Arabic, it is an idea I am somehow expected to have about myself.