Architect, critics and curator, he is the director of Fondazione Zimei. He has curated exhibition and seminars about contemporary art in Italy and abroad. He write and collaborate with Flash Art and Arte e Critica

Through the shots by Alessandro Rizzi, anyone can come to the realization that the images belong to everyone, even for a moment, for the duration of what has been perceived and flown away. Rizzi has chosen the camera as a privileged expressive instrument, building in recent years an abacus exterminated by specimens, fragments of human, social, environmental and natural landscapes, in which everything seems to come together in a great unitary project. The ambition of the universal story through the chemical fragmentation of reality. The chemistry that corrodes the negatives over time and for which the cure is the only possibility, the only chance.

The error present in life itself is reproduced in the supports that enclose it in small frames, edges of the reality that the negatives contain. Reality that asks to go out of those delimited spaces, to be present, to participate, to occupy space. Space for the specimens, the photographs on the walls, the space between the fingers that hold the rolls to be loaded on old medium-format machines that Rizzi uses for all the works of this long vocabulary, private and universal at the same time, also for its vastness of places and continents told.

The photographs of ... ... participate in the further construction of this mosaic, perpetually in equilibrium trail Emilian pragmatism rooting Rizzi wisely on the ground and the ability of the artist who knows how to see inside the atmospheres of a story or a place and then transform them into a own personal experience.

Rizzi's familiarity with the East is the result of love and a long period of residence in Asia, which began in China in 2003 and alternated between the middle country and Japan in subsequent years. Not on the sidelines we can speak of a real influence on his determined photograph of the encounter with Eastern cultures, constituting in the personal experience of the author an addition of meaning and the constitution of a new concept of home. It is precisely within this new paradigm that two of the characteristic elements of Rizzi's work "on photography" find one of the most fertile grounds in which to express themselves: The search for a gesture in walking. Assuming motivation and necessity, the journey through the eastern streets first of all becomes a walk inside, a great possibility of research favored by the safety of the places, by the "frenetic" calm that Asia ensures. An enormous container of lives in the street interconnected with each other, to use the words of the author, which still allows us to collect the signs of the ordinary not disturbed by the emotional fears of the West or by phobias about privacy and with them confront themselves in a game of possible references where the limit is constituted by one's own personal capacity to feel, even before seeing. It is on this so close link between reality, participation in it and a personal "look" that Rizzi operates and moves in a continuous search for gestures suspended in time, small fragments of memory or fads in the making; pieces of an abacus in perennial construction. In this context, the author moves through different environments, in urban areas that change rapidly and change the situationist drifts of Rizzi, which mechanically filters the fertile atmosphere where to express himself. In his photography there is a strong trust in the possibilities of the medium, the rooted idea of a space for photographs that the becoming of life itself allows and that stands out from many of the conceptual analyzes on contemporary photography, taking up instead the theme of wonder. of enchantment so present in eastern cultures, inexhaustible and hidden material that can be found in the same material as things and behaviors.