The last global farmers shelter in rifts and unreachable ravines enveloped in loneliness huddle on the margins and scraps of earth still damp from warm, organic contact and human touch. Precarious land that is alive because of extreme poverty.
The destruction of our environment – albeit caused by natural disasters – involves parties (communities, governments or industrial players) and is often the result of a multiplicity of factors: human negligence, inadequate planning, criminal abuse of our resources, natural causes.
Good news, it infuses this issue with a sense of joy, and with an aspect of carefree childhood seized in flight. There is a feeling of solemnity, but a tender solemnity. An innocence that confronts the world, its difficulties and the trials of study, but it is amusing, happy, and touching.
The last global farmers shelter in rifts and unreachable ravines enveloped in loneliness huddle on the margins and scraps of earth still damp from warm, organic contact and human touch. Precarious land that is alive because of extreme poverty.
The pictures of this issue show economic inequalities as they are today in a way which breaks the stupor of indifference generated by watching antiseptic clean TV programmes of the main news channels.
Our planet is in crisis; a crisis captured through this collection of photo essays taken by world-class photographers. It tells a story of environmental degradation and gives a voice to some of the forgotten peoples who are paying the price. This issue of PRIVATE takes us on a journey across the world, highlighting the human and environmental costs of “development” from our rivers and land to the skies above us.
The destruction of our environment – albeit caused by natural disasters – involves parties (communities, governments or industrial players) and is often the result of a multiplicity of factors: human negligence, inadequate planning, criminal abuse of our resources, natural causes. This issue of PRIVATE offers its readers a selection of photographs that touches onto the many facets of the environment.
When I look at the twenty photographers which make up this Metropolis edition of PRIVATE, it’s not what makes the cities different from each other that strikes me, in fact I’d say that these big cities are very similar to each other, not in their detail, faces, bodies and scenes, but in the variety of emotions which they arouse and which we all experience.
Buy/Gift PRIVATE 32 For those born before television, before sleep became one amongst many options, night was travelled through with caution. Because it was a place where all of the world’s negativity lurked. Night clouded reason and at nightfall the legends of the non-living once again became real, exacting a...
The selected images for this issue of PRIVATE, with their individual style, at times assisted by visual references, demonstrate a common appreciation of the reportage as a genre. They all possess a sincere – and frankly infrequent – ethical sense.
Whenever a photograph shows more of the subject’s skin than it is usual, a problem of classification inevitably arises: are we dealing with a nude photograph (artistic or not), an erotic photograph or a pornographic photograph?
The photographic self-portraiture as seen in the work of the students of Italian and European Art Schools.
All of the photos which compose this number of ‘Private’ represent denial or an attempt at denial of fashion. […] Here we find ourselves already in ambiguous territory where the body and whatever covers it is not just commercial merchandise, or at least not entirely.
Photo cover: Marijana Omazic & Peppe Accardo (front), Francesco Morandin (back) Buy/Gift this issue Photographic diaries and autobiographical memories, revealing themselves as attempts to confer upon the person a form of identity, capable of going beyond actual experiences. Alessandra Vergnano Marijana Omazic & Peppe Accardo Federica Aghadian Giordano Barcaroli Delfina...
