Using a cartographic practice that generates a new atlas from Google Earth, Marcela Magno’s series, Land displays evidence of how the planet has changed.

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Argentinian photographer Diego Ballestrasse creates his visual diary, The Fourth Wall, by gathering cut outs from old family photographs and combines them to generate a new subtle vision of a family album.

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The Museum of Capitalism is an institution dedicated to educating this generation and future generations about the history, philosophy, and legacy of capitalism, through exhibitions, research, publication, collecting and preserving material evidence, art, and artifacts of capitalism, and a variety of public programming.

Full article on La Stampa

After being held for 44 days in several prisons of the regime in the spring of 2011, Pulitzer winner photographer Manu Brabo went back when the rebels took control of Tripoli to cover the conflict again. He immediately started to closely follow the situation of the prisoners suspected of being loyalist to the dying regime.

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Critically acclaimed documentary filmmaker and photographer Lauren Greenfield has dedicated her career to exploring youth and beauty culture, the rise of conspicuous consumption, and the spread of global consumerism. Greenfield has created an important and revelatory cultural document that weaves together 650 color-saturatead images and 150 riveting first-person interviews into an epic narrative, chronicling the tireless pursuit of money, status, beauty, and fame.

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An article on the new tendencies of contemporary photography showcased at Rencontres d’Arles 2016, the most important photo festival in Europe.
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An article featuring the work of  Metrography, the first and only independent photo agency based in Iraq that works almost exclusively with photographers based in that country.
Full article on La Stampa

An interview with artist Alessio Zemoz, winner of the prestigious “Under-40 Photography” prize of Modena Foundation for Photography. Zemoz researches the perception of the landscape in Valle d’Aosta region inhabitants.
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The Dreamers” is an exploration of life in New York, in the subways and the alleys, a trip among its dwellers and those who made a home of its streets.

Steve Panariti crossed Bronx, Harlem, Manhattan and Brooklyn all the way to Coney Island, giving back an instinctive tale of a population made up of sleepy homeless, veterans begging for a dollar and too-fast-aged women.

New York models itself in an always different and sometimes inconsistent form of revelation. For decades it has been inspiration for street photography great authors like Mary Ellen Mark, Elliott Erwitt, Bruce Gilden, who surprised pedestrians with his flashes, or Jeff Mermelstein, who caught the extravagances of a mix of races, gestures and crafts.
New York is effectively a great playground for photography: no one much cares what you’re doing. Pieces of a true and grotesque urban puzzle are moving undisturbed in the streets walked by Panariti. Characters who are real, like muscular ladies and asleep keepers, or reproduced on abandoned magazines, on missing person leaflets or on the graffiti where a girl seems to be lost in her dreams. Here we find parading iconic city elements like asphalt, carton, garbage, signals, food trucks and ghetto blasters. Tech devices, instead, are absent: the “dreamers” don’t own a laptop and don’t type on a smartphone. Yet they are the subjects of a new photography, the mobile one, which mainly concentrates on content and relationship with context, because the smartphone allows to get closer in an almost invisible way.
This work uses the contemporary storytelling language shared on social networks. The hashtag #streetphotography counts ten million posts on Instagram, a fascinating platform for creatives, professionals and amateurs alike which offers a new interaction with a wider audience.

Filters, contrasts, paper waste, random and intentionally casual framing connotate “The Dreamers”, which records with direct and immediate connection those moods, gestures and social phenomena that constitute the street essence.

JEST, a new independent space dedicated to photography, opens in Turin. Showcased is the work of Pietro Paolini on persecution in Colombia.
Full article on La Stampa

From the tragedies of migrants to selfies of Chernobyl tourists. “Visa pour l’Image”, the festival directed by Jean-François Leroy takes stock of photojournalism.
Full article on La Stampa