Giorgio Biffi is introduced in the catalogue by Marco Senaldi. In his works, the photographic artifact—the official aspect of memory—is simultaneously amplified and contradicted. As Senaldi emphasizes, “...memory always rings twice: the first time to capture, the second to absolve,” so in Biffi’s work “the dual function of memory has become an aesthetic object.”

Paola Di Bello develops her reflection on the image through photography, the quintessential reflective language. Here, the traditional sign of photography appears reversed. Elisabetta Longari provides an introduction to the reading of her work.

“The small golden fragments made with black and white Polaroid, subjected to the oxidation of atmospheric agents over a slow and undefined period, are laden with iridescences where the veiled evocation of distant given images intertwines indissolubly with the always variable and unpredictable reflection of the viewer and the surrounding environment... art is the possibility of knowing oneself and recognizing oneself.”