Walker Evans’ work was spread over forty-six fitful and prolific years, yet in a scant two years, 1935-1936, he produced a singular body of work that defined his career. In the process he refined a hybrid style which combined documentation with sly personal comment. During that brief time he worked for the Farm Security Administration (previously the U.S. Resettlement Administration) photographing the consequences of the Great Depression. He delighted in being the artist tra

Chomsky has always wondered about the political role of intellectuals - the "new mandarins" - in western society. Here he analyzes in particular the function performed by the mass media (American but not only) in a system in which the population cannot be disciplined by force and must therefore be subjected to more subtle forms of ideological control. And it tears off the illusory and self-illusory mask that portrays the press as the champion of truth, as the embankment of public

The rigorous realism of Richard Matheson, one of the greatest writers of the twentieth century and the radical sign of Armin Greder come together in a surreal and suspenseful atmosphere. Until the end of the world. In an overcrowded world, men like lemmings head for their inevitable good, under the eyes of two policemen who, as traffic operators in an ordinary day, direct the maneuvers for the end of humanity. No one protests, no one e

In 1955, a fateful year for the history of photography, Bertolt Brecht's Kriegsfibel, a book composed of verses and photographic images that the playwright had collected from illustrated magazines during his exile from Nazi Germany, was mostly ignored. the captions. For its theoretical density and its disturbing contemporary implications, it represents an editorial case increasingly frequented by scholars interested in the mechanisms of propaganda, ideological uses and the reception of war images. The Kriegsfibel unequivoc

Arraicas (Roots, in Sardinian) is an exhibition that is divided into a path of photographs and literary passages and summarizes the work, which Sveva Taverna has been carrying out for about ten years in Sardinia, the homeland of her mother and of her soul. "In the shadow of Monte Gruttas, in Urzulei, I felt pervaded by a sense of mystery, which I then tried to express through photography for years, tending to "hold back" the apparitions that