Volume 01: Time


The first printed issue of Pellicola is a response to the increasing reliance on the online realm for content consumption, where quantity and aesthetics often overshadow quality. Recognizing the pitfalls of this trend, we chose the theme of “Time” to emphasize the importance of slowing down and engaging with images in a meaningful way. In a world saturated with rapidly produced content, we aim to delve into the origins and significance of photographs, fostering a deeper understanding. The magazine serves as a curated exploration of photography, featuring diverse voices — from Pellicola’s editorial team to photographers, critics, and curators — providing a critical and contemporary perspective on the subject.


Published in January 2024


Printed at Grafiche Veneziane (Italy)
184 pages with different papers
23 x 33 cm


Bilingual (English and Italian)

About this Issue

To delve deeper is the key concept from which we started to outline the structure of the magazine, conceived as a journey of progressive investigation into photography through a succession of voices,  ranging from the editorial staff of Pellicola in the Intro and Projects sections to those of photographers in the In Dialogue section, critics and curators working in the field in the final Perspectives section, which aims to offer as much as possible a critical and contemporary view about the subject under investigation.

The Projects

The main section of the magazine is dedicated to an in-depth look at the projects of five photographers, investigating different aspects of the theme, toward a time in which the boundaries between past, present and future become blurred, in a suspension in which anything can happen. Through the editorial point of view of Pellicola, each project is accompanied by an article created on the basis of a focused interview with each photographer.

In this issue: Mateo Ruiz González, Alessandra Dragoni, Hayahisa Tomiyasu, Marina Caneve, Julie van der Vaart.

In Dialogue

A second part relates two projects to create a dialogue, both visual and verbal, between two photographers, invited to compare their work and reflect explicitly on the theme of number. The goal of this section is precisely to offer a free and open space for discussion, foregrounding the voices of the artists themselves.

In this issue: Andrea Botto and Bartolomeo Rossi.


Perspectives is the final section of the magazine and brings together contributions and reflections on the subject from more institutional figures working in the field of photography, such as critics, curators, gallery owners and publishers, thus concluding the issue’s journey of investigation.

In this issue: Guido Guidi, Holly Roussell, Davide Daninos.

The path that led us to develop this first issue of Pellicola required quite a bit of time. Perhaps because back in 2016, when, very young, we started to curate the online magazine, it was not immediate to find our own relativity, in a historical moment in which everything seems to flow towards a single direction, unstoppable. In which dematerialisation has only increased an overproduction, also visual, that had already become systemic before digital. Every day we plunge ourselves in an overwhelming flow of images, and it has become increasingly urgent to stop, and stop the photographs with us, to look beyond their surface and, in this way, slow down. Similarly to the way film photography slows down, precisely, where the shots are limited and precious, where the gaze is forced to choose, always questioning itself, where the results have to wait for the developing and printing processes. We made it our manifesto. We have found, over time, our own time.
Driven by this current, we see ourselves in Roland Barthes’ words, when he speaks of photography as a practice capable of getting one’s thoughts in order, of raising those same metaphysical questions that once arose when looking at infinity, at a starry sky. Who are we? Why do we live here and now? Where are we going?

So we couldn’t not think of paper, to slow down even more. In order to dialogue with images in a safe space that lasts, that does not depend on the brightness and the amount of pixels on a screen, that is not filtered by an algorithm.
The right space, the physical one, in which we question ourselves about our here and now, and in which we rediscover a voice and an urgency of images that overproduction often confuses, devalues or even cancels. With the right time, the one marked by the hands that turn the pages, and the one we want everyone to take on this journey. A progressive immersion that begins quickly with a dive, and that gradually slows down as it descends into the depths, crossing first our editorial point of view, the one of the photographers themselves, and finally the experience of critics, curators and professional figures in the sector.

We therefore open this first issue with the words of Elena Vaninetti, who takes us straight to the heart of the magazine, the five Projects. Mateo Ruiz Gonzalez’s investigation retraces the echoes of the colonialist past in the communities of North Carolina, through the use of invisible archives, symbols and imagery handed down through time, creating a bridge with our present. Alessandra Dragoni returns to her own childhood places, observing, between familiarity and change, a present in constant evolution in the time of growth.
The journey continues with the work of Hayahisa Tomiyasu, who immerses us in a dynamic yet suspended microcosm, made up of habits, rituals, and small fragments of everyday life. The boundaries between past, present and future begin to become more and more blurred in Marina Caneve’s work, where the dialogue between the contemporaneity of the city of Athens, its historical memory and the planning of its future becomes central. Reaching the dissolution of these boundaries in the obscurity of a deep and interior time of which Julie van der Vaart’s research becomes a representative, a time in which anything can happen, far from the linearity of history that shapes our everyday life.

In this suspension, we delve further with In dialogue, where we wanted the photographers themselves to tell us about their work. The relationship between the immediate consumption of the explosions documented by Andrea Botto and the time of Bartolomeo Rossi’s return to the places affected by natural disasters builds a rich comparison of approaches to time and the contemporary landscape, whose transformations are documented by both artists.

We then begin to head towards the conclusion of our journey with the last section, Perspectives, which Guido Guidi opens with an unprecedented look at the work La Vecchia by Giorgione; an almost semiotic analysis of the painting and an invitation to discover, beyond a glimpse, a microcosm of details and the communicative potential of visual art. 
Photographic archives and the relationship between their essence and documentary function are dusted off by Holly Roussell, who observes their various uses in the contemporary art scene, which are more and more open to reinterpretation and the construction of new narratives.
Finally, Davide Daninos accompanies us to rediscover a time that is often implicit. Time of photography itself and its mechanisms, made up of physical encounters, chemical reactions, waiting, where duration is what makes us fully experience the process in its essence, being one with the things and experiences we seek, with time.

It is precisely in the duration of a more distended time, of a new medium, paper, to return to the starting point, that we saw the possibility of really being there, of becoming one with photography, which has accompanied us for years as one of our greatest passions. To harmonise with the images, and question the visual field at a time when it has become the protagonist of our everyday experience. And we hope that you readers, too, as you leaf through the pages of this issue, will rediscover your familiarity with images and with time, which today more than ever seems to slip through our hands, to run faster and faster.
Taking your time, we therefore wish you a good journey, in time.

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In this issue

Writers: Manuel Beinat, Claudia Bigongiari, Anna Bulgarelli, Michela Coslovich, Davide Daninos, Erika Giulietti, Guido Guidi, Holly Roussell, Elena Vaninetti

Photographers: Andrea Botto, Marina Caneve, Alessandra Dragoni, Mateo Ruiz Gonzalez, Guido Guidi, Luca Lupi, Bartolomeo Rossi, Thomas Sauvin, Hayahisa Tomiyasu, Julie van der Vaart

Editor-in-chief: Simone Corrò, Greta Fassina

Managing Editor: Claudia Bigongiari

Art Direction: Tomomot with Greta Fassina

Transaltions: Virginia Andrea D’Ascenzio, Margherita Stocco

Graphic Design: Tomomot with Greta Fassina

Cover Pictures: Bartolomeo Rossi

Technical Sponsors: Fedrigoni, Grafiche Veneziane, Tomomot

Vol 01: Time