Sculptures by Alessandro Rizzi is a book whose photographs were shot over the timespan of a few hours in Washington D.C. on December 14, 2014, and more precisely, during the civil rights protests that took place in the capital after the fatal shooting and civil unrest originating in Ferguson. Rizzi gives back a sharp and paradigmatic work on American society as a whole, and on the importance of a political demonstration that is a sign of the times and is coherent to its prescribed script. Sculptures by Alessandro Rizzi is a book whose photographs were shot over the timespan of a few hours in Washington D.C. on December 14, 2014, and more precisely, during the civil rights protests that took place in the capital after the fatal shooting and civil unrest originating in Ferguson. Rizzi gives back a sharp and paradigmatic work on American society as a whole, and on the importance of a political demonstration that is a sign of the times and is coherent to its prescribed script.Rizzi gives back a sharp and paradigmatic work on American society as a whole, and on the.

 

PRINTS I have put wings on my eyes to not lose the vortex of the instants, the throb of the ideograms, the vertigo of the boats. As you know, it’s here that I start thinking about my first movie. Images are slipping from that enormous mouth and from the walls of Wan Chai to the rooms of a small hotel filled with bodies and sweat.

PRINTS

I have put wings on my eyes to not lose the vortex of the instants, the throb of the ideograms, the vertigo of the boats. As you know, it’s here that I start thinking about my first movie. Images are slipping from that enormous mouth and from the walls of Wan Chai to the rooms of a small hotel filled with bodies and sweat.

 

 

Performance In Beijing as well as New York, Las Vegas and London, the stories of people living in megalopolises are all alike, all searching for a quiet life in places where everything springs out of a surreal thought or emotion. Thus, these places, full of sensory and emotional stimuli, end by turning into amplifiers of solitudes and frustrations or at least of an unexplainable desire for tranquil ordinariness. Vision from another world is the first book of Alessandro Rizzi. In Beijing as well as New York, Las Vegas and London, the stories of people living in megalopolises are all alike, all searching for a quiet life in places where everything springs out of a surreal thought or emotion. Thus, these places, full of sensory and emotional stimuli, end by turning into amplifiers of solitudes and frustrations or at least of an unexplainable desire for tranquil ordinariness. Vision from another world is the first book of Alessandro Rizzi.

Performance

In Beijing as well as New York, Las Vegas and London, the stories of people living in megalopolises are all alike, all searching for a quiet life in places where everything springs out of a surreal thought or emotion. Thus, these places, full of sensory and emotional stimuli, end by turning into amplifiers of solitudes and frustrations or at least of an unexplainable desire for tranquil ordinariness. Vision from another world is the first book of Alessandro Rizzi. In Beijing as well as New York, Las Vegas and London, the stories of people living in megalopolises are all alike, all searching for a quiet life in places where everything springs out of a surreal thought or emotion. Thus, these places, full of sensory and emotional stimuli, end by turning into amplifiers of solitudes and frustrations or at least of an unexplainable desire for tranquil ordinariness. Vision from another world is the first book of Alessandro Rizzi.

KAIROS BOOKS Kairos Books is an Italian independent platform distributing Alessandro Rizziphotography contents. KAIROS REPRESENTS A KIND OF QUALITATIVE TIME IN THE IMMENSE,  ELUSIVE DICTIONARY OF THE WORLD, THE UNEXPECTED THAT CAN STILL APPEAR,  HERE AND THERE IN SOME UNEXPLORED FOLD OF THIS SPACE.     

KAIROS BOOKS

Kairos Books is an Italian independent platform distributing Alessandro Rizziphotography contents.

KAIROS REPRESENTS A KIND OF QUALITATIVE TIME IN THE IMMENSE,  ELUSIVE DICTIONARY OF THE WORLD, THE UNEXPECTED THAT CAN STILL APPEAR,  HERE AND THERE IN SOME UNEXPLORED FOLD OF THIS SPACE.     

SCULPTURES Sculptures by Alessandro Rizzi is a book whose photographs were shot over the timespan of a few hours in Washington D.C. on December 14, 2014, and more precisely, during the civil rights protests that took place in the capital after the fatal shooting and civil unrest originating in Ferguson. Rizzi gives back a sharp and paradigmatic work on American society as a whole, and on the importance of a political demonstration that is a sign of the times and is coherent to its prescribed script.

SCULPTURES

Sculptures by Alessandro Rizzi is a book whose photographs were shot over the timespan of a few hours in Washington D.C. on December 14, 2014, and more precisely, during the civil rights protests that took place in the capital after the fatal shooting and civil unrest originating in Ferguson. Rizzi gives back a sharp and paradigmatic work on American society as a whole, and on the importance of a political demonstration that is a sign of the times and is coherent to its prescribed script.

MS: You lived for many years in China and Japan, and above all between 2004 and 2010 you documented the complex landscape of Tokyo, since you were living in Magome in suburbia area. What does this series of photographs, somewhere between classic and modern, inspired by Murakami's book represent for you. AR: These I'm saying to you are the first words that transform the years of my japans experience into memory, the photographs into a stratification of symbols and meanings with a before and an after. The essence of my work in Japan, especially in Tokyo focuses into a interconnections of two phenomena: on one hand, the search for a formal sign in the quick flowing of contemporary gestures, on the other for an ancient elegance in the caos of the city. I mean I have looked at the macrocosm that each megalopolis offers us in order to find in the gestural characters, in the suspension of time, the elegance that japanese culture expressed marvelously in the past.

MS: You lived for many years in China and Japan, and above all between 2004 and 2010 you documented the complex landscape of Tokyo, since you were living in Magome in suburbia area. What does this series of photographs, somewhere between classic and modern, inspired by Murakami's book represent for you.

AR: These I'm saying to you are the first words that transform the years of my japans experience into memory, the photographs into a stratification of symbols and meanings with a before and an after. The essence of my work in Japan, especially in Tokyo focuses into a interconnections of two phenomena: on one hand, the search for a formal sign in the quick flowing of contemporary gestures, on the other for an ancient elegance in the caos of the city. I mean I have looked at the macrocosm that each megalopolis offers us in order to find in the gestural characters, in the suspension of time, the elegance that japanese culture expressed marvelously in the past.

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NEW YORK LOST NEGATIVES BOOK

 

                    FOTOGRAFIA EUROPEA     

                         

             CAMBIARE

 

 

 

 

Japan The picture of the carousel in Manara, of its moving and shedding light on the plants and flowers around, made me think about some small nocturnal projects of 24 hours about Beirut. Small or big hallucinations of tiredness or drunkenness… I could make this a series: 24/1 Beirut. 24/2 Beirut. 24/3 Beirut…The wind is blowing strongly on the Corniche promenade; I look at Beirut from the sea, taking a breath after the weeks that I have spent voraciously in her belly.

Japan

The picture of the carousel in Manara, of its moving and shedding light on the plants and flowers around, made me think about some small nocturnal projects of 24 hours about Beirut. Small or big hallucinations of tiredness or drunkenness… I could make this a series: 24/1 Beirut. 24/2 Beirut. 24/3 Beirut…The wind is blowing strongly on the Corniche promenade; I look at Beirut from the sea, taking a breath after the weeks that I have spent voraciously in her belly.

INSTALLATION VIEW According to Foucault, “history is that which transforms documents into monuments.” Alessandro Rizzi’s new series titled Theatre Translation exist within the fissure of document and monument. Teatro Sociale di Gualtieri, a small gem of a theatre that survived fire, water and neglect, then reinvigorated with grassroots efforts, is captured in Rizzi’s photographic series as memory-images. The story of the theatre depicted in Rizzi's photographs bear the imprint of time; images are mute and motionless only on the surface; the spatial setting, which is itself the protagonist, carries inertia, it is demarcated with change. 

INSTALLATION VIEW

According to Foucault, “history is that which transforms documents into monuments.” Alessandro Rizzi’s new series titled Theatre Translation exist within the fissure of document and monument. Teatro Sociale di Gualtieri, a small gem of a theatre that survived fire, water and neglect, then reinvigorated with grassroots efforts, is captured in Rizzi’s photographic series as memory-images. The story of the theatre depicted in Rizzi's photographs bear the imprint of time; images are mute and motionless only on the surface; the spatial setting, which is itself the protagonist, carries inertia, it is demarcated with change. 

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SCULPTURES DIARY The black diary is a Notebook that artist decided to buy in Washington D.C on December 12th 2014, the day before the march for all Justice that took place in the capital after the fatal shooting and civil unrest originating in Ferguson. Artist asked to the people arrived in Washington to leave a personal witness of their presence. Images of the manifestation are collected in a book called Sculptures

SCULPTURES DIARY

The black diary is a Notebook that artist decided to buy in Washington D.C on December 12th 2014, the day before the march for all Justice that took place in the capital after the fatal shooting and civil unrest originating in Ferguson. Artist asked to the people arrived in Washington to leave a personal witness of their presence.

Images of the manifestation are collected in a book called Sculptures

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