#AI mAg ADDENDUm

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Above and

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AI MAg AddendUMAbove & beyond

SUMMer edition venice 2015

no. 0

Circulation: only with AI magazine

Advertising department: bildung Inc.

exclusive Company for.

greTA edIZIonIFine Art Publishing & Services.

t +39 0721.403988f +39 0721.1792507via degli Abeti 104

61122 | Pesaro | Italygretaedizioni.com

Special thanks to:Marco vidal | MAvIve

Andrea Tinterri | curatorAnna Sutor | illustrator

noema gallery

Printed in Italy, May 2015graffietti Stampati

All rights reserved. no part of this publication may be reproduced in whole or part without written permission from the publisher. The publisher declares its willingness to settle fees that may be owed for texts and images whose sources could not be traced ordentified.

Today’s rich and powerful collectors

are unfortunately not as tasteful

as the Medicis.

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giovanni Marinelli“A picture is a secret about a secret, the

more it tells you the less you know.”― diane Arbus

The decision to publish an insert in which the only presence, save a brief editorial, is pho-tography in absolute linguistic autonomy, or rather without the addition of any text that may recount, contextualise, criticise, or transform is, I believe, a very precise editorial choice. Photog-raphy left alone, without anyone to hold its hand, to help it across the road, without a narrative voice which reminds it of it its home address. I don’t believe there is much trust in photography. I personally don’t have much, but at times I trust those who look at photography.

If anything, I trust in the need for mankind to resolve problems, to create ever new ones against which to bash their heads, create traumas, and come out regenerated. because a photograph that is naked, solitary, dare I say mute, is a problem, an enigma to be resolved, something to break into. It is like being hungry and having in our hands a closed tin of something edible. no label, no indi-cation of the best before date, but only the knowl-edge that it is food which can satisfy our hunger. We are afraid, we shake the tin to understand the consistency of the contents, we smell it, but no odour or perfume escapes from within.

We weigh it in our hands; we leave it for a few minutes in the sun to see what happens. We have no tin opener, that would be too easy and the game would have no sense. We bite it to see if the metal can be perforated, but nothing, it remains intact and stoic. We are faced with a wall: we look at the tin, we pass it from hand to hand, we be-gin to gain confidence, we wait a moment, check that no-one is watching us, and then we hurl it against the wall hoping for a breach, hoping for an odour, in a flavour.

We approach the tin, a trickle flows on the ground, a trickle of red which is not blood, but something to lick, to taste by dipping a finger in. We pick the tin up again, there is a scent, there is

a flavour: we don’t know how long it has been in the tin, but we begin to suck, we eat because we have to and we do it at our own risk and danger. Simple tinned tomatoes or baked beans, tripe or preserved peppers, dried meat or pickled mush-rooms. We may not be able to stand the taste of the contents, we could be allergic, or love it and look for other unmarked, unlabeled tins, look for another wall and free that which lies inside with heavy kicks and flings against willing walls. I don’t believe much in photography but I do believe in those who want to look at photogra-phy and I believe in the effort of the gaze and the effort of thought. I believe in the printed page, in the fetish for paper, in the publishing industry at-tentive to the needs of the photographer, attentive in placing the spectator in difficulty and in creat-ing problems, traumas: transitions.

Four photographers (Alessandro rizzi, giovanni Marinelli, Andrea Morucchio, Alberto Andreis) for this experiment: a first issue inaugurated at Palaz-zo Mocenigo, during the venice all-nighter on the occasion of the 56th Art biennial. Like all cities, dare I say which are too touristic, venice is also almost impossible to see, to discover, to re-read. A city of postcards, plastic gondolas and masks which are also good for the fifteenth of August. venice is a problem: it is difficult to go beyond, open the tin and feed on that which is inside, whether it is water or gold.

So let’s pin our hopes on the long life of paper, in slow observation, let’s hope that you can take these pages in your hands and come across them again after a few years or centuries, under other papers, under other doubts, other odours, other images. Let’s pin our hopes on the opening of the tin, or simply in the attempt. Let’s fling it against the wall, put our strength into it, throw it high and let it fall in the hope that something to taste comes out. never mind if it’s good or bad, let’s eat first and then we’ll see.

Above & beyond“To photograph is to hold one’s breath, when all faculties converge

to capture fleeting reality. It’s at that precise moment that mastering an image becomes a great physical and intellectual joy.”

― Henri Cartier-bresson, The Mind’s eye: Writings on Photography and Photographers

by Andrea Tinterri

Alessandro rizzi“The camera is an instrument that teaches

people how to see without a camera.”― dorothea Lange

Andrea Morucchio“A great photograph is one that fully

expresses what one feels, in the deepest sense, about what is being photographed.”

― Ansel Adams

Alberto Andreis“Travelling is a door through which one leaves

reality to penetrate into an unexploredreality, which seems like a dream.”

― guy de Maupassant