On the occasion of his workshop on April 18 and 19 with Azahara Lozano Dorado, Roma: The Documentary Condition: Archival Practices and Contemporary Photography, curated by Door Academy, we are pleased to host Felipe Romero Beltrán on April 22 for a presentation of his projects Dialect and Bravo, which will focus on comparing exhibition and editorial strategies. If you are interested in participating in the workshop, please email doitoriginalorrenounce@gmail.com Felipe Ro

We are delighted to be participating—as every year—to Fotografia Europea as part of the [Parentesi] Book Fair, alongside many other publishers and booksellers, from Friday, May 1st, through Sunday, May 3rd. In addition to our usual selection of books, on Saturday the 2nd, from 12 to 1 pm, we are pleased to host Giorgio Di Noto’s Hidden Collectionsbook signing, published by Quodlibet. At 4.30 pm, Chiara will be in conversation with Francesco Villa�

Cristina Musiani’s essay is inspired by Le Corbusier’s thinking on the cognitive aspects of the gaze and architecture as a visual device that relates to space, key themes in Guido Guidi’s photography. Through three interviews, which conclude the three chapters of the book, the research is supported by Guidi’s own voice, giving primary importance to his thinking. The starting point is the idea of an architectural frame associated with the id

“Photograph the waves to preserve the memory of their words” “OHGREATSEA!YOU CREATE THATWHICH I SANG ABOUT AT THE BEGINNINGOH!, HORIZON OF EYES AND FLIGHTSOF SEAGULLS AND BURNING SUNS!PLACE OF PASSAGE OF THE CELESTIAL OF THE EVER FLATLUCKY ENCOUNTER OF STORMSOF SALTY WAVES AND MOONSFULL THAT FREEFLOW AWAY.AND I DIEI” These are the words the two photographers used to summarise their work: a series ofphotographs taken in faraway places. Ba

Design is optimistic by nature: it seeks to solve problems and, in doing so, create preferable conditions. Yet, the thinking behind it abounds with expressions of skepticism, dissatisfaction, and even resentment. Rather than being dismissed as anomalies, can these “sad passions” shed light on the blind spots of the discipline? Can disillusionment represent something more than mere disappointment? Can it, for example, translate into an emotional method for bringing dysfunctions and contradictions to light? Th