The Persian term bāgh defines the garden as a microcosm of order and beauty, where nature is arranged according to perfect geometries and renewing symmetries.
These canvases recreate the aesthetic of the Chahar Bagh, the four-part garden of the earthly paradise.
Nico in Athanor, Philippe Garrel (1972)
Pochi anni dopo questo scatto, Barbara Kruger avrebbe abbandonato completamente la pittura e l'arte tessile per dedicarsi alla tecnica del collage fotografico e del testo, influenzata dalla sua esperienza come graphic designer per riviste come Mademoiselle.
«I’m interested in making art that displaces the powers that tell us who we can be and who we can’t be.»
Barbara Kruger nel suo studio di New York in uno scatto di Cosimo Di Leo Ricatto, 1974.
La double vie de Véronique, Krzysztof Kieślowski (1991)
Tom Waits. The Fly.
«No one's had a life stranger than you
You know famine
You know war
You know danger
[…]
Housefly, housefly
Go to sleep and say goodbye
No one'll weep when you die»
L'une chante, l'autre pas, Agnès Varda (1977)
Babettes Gæstebud (Babette's Feast), Gabriel Axel (1987)
Maryam Saeedpoor (Tehran, 1984) is one of the most powerful and courageous voices in contemporary Iranian photography.
Between 2022 and 2023, Maryam Saeedpoor created a photographic series in which the Persian carpet serves as a monumental symbol of Iranian tradition and cultural identity.
Lux Aeterna, a composition written by György Ligeti in 1966, is based on micropolyphony, a technique involving the interweaving of independent melodic lines so dense that they become individually imperceptible, creating a floating sonic texture in which rhythm and melody disappear.
For several scenes in Barry Lyndon, Stanley Kubrick used the Zeiss Planar 50mm f/0.7 lenses, capable of capturing images in extremely low-light conditions.
This innovation allowed John Alcott to recreate the visual aesthetic of the great eighteenth-century painters: W.Hogarth, T.Gainsborough.
Rote Sonne (Red Sun), Rudolf Thome (1970)
Bologna Libera, 21 Aprile 1945.
Bloooooming
Fabienne sans son Jules, Jacques Godbout (1964)
Flammes, Adolfo Arrieta (1978)
Le Rayon vert, Éric Rohmer (1986)
Signore pietà.
Milano 18 Aprile
Scatto di Gianluca Larizza
Liv Ullmann in Ung flukt (The Wayward Girl), Edith Carlmar (1959)
Maynila, sa mga Kuko ng Liwanag (Manila in the Claws of Light), Lino Brocka (1975)
La Stanza dei Discorsi Seri.
(The room for serious conversations)
Marcello Mastroianni & Anouk Aimée in La Dolce Vita, Federico Fellini (1960)
Siba, a rapper of Palestinian origin based in Berlin, released the track Dounana (Without Us) on 11 January 2024.
Produced by Monkyman, the song uses his native Palestinian dialect to portray the reality of the diaspora.
«ouve-me»
«écoute-moi»
«hear me»
Helena Almeida, Pintura Habitada, 1979.
In this work, Almeida collapses the boundaries between the artist's body, the act of painting, and the photographic medium.
Passion, Jean-Luc Godard (1982)
“Whenever one of us falls, a thousand more take her place,” says Sarezh, a Kurdish fighter with the PAK.
In Kurdistan, men and women fight side by side. “We are equals,” she adds.
A portrait of Peshmerga women fighters in a report by Afshin Ismaeli.
Los Olvidados, Luis Buñuel (1950)
Marianne Faithfull appearing as herself, singing "As Tears Go By" in Jean-Luc Godard's Made in U.S.A. (1966).
The sequence features Anna Karina and Jean-Pierre Léaud.
Shot by Ted Streshinsky, Golden Gate Park, San Francisco, 1967.
«All that confidence I had had in my own perceptions, all that certainty that I was central to things, began to fall away, and I began to see how easily a life can drift, how quietly one can disappear from one’s own story.»
Joan Didion, Goodbye to All That, in Slouching Towards Bethlehem, 1968.
