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When work looks like this!! Milano and a dreamy wedding with the one aka @ike_melchizedek

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📸Come può la fotografia parlare di crinale?

Vi portiamo a scoprirlo attraverso il progetto “Dreaming the Mississippi” di Davide Degano, uno dei quattro fotografi protagonisti nella mostra “Terremoti e Trasformazioni”.

Il crinale si presta come chiave interpretativa che introduce all’idea di continuità e di trasformazione. Ci orienta nel modo in cui la fotografia di Degano mette in relazione le immagini del territorio friulano contemporaneo: scenari apparentemente differenti continuano a coesistere nel presente. 🏞️
In questa ricerca, il crinale incontra il tema del terremoto. Non per rappresentare una frattura, ma per raccontare la continuità di ciò che esiste all’interno del cambiamento. Le fotografie trattengono qualcosa che rimane incompleto, il soggetto è contemporaneamente stabile e in mutamento. Il crinale diventa così la condizione percettiva di questo stato di trasformazione.💫

Sfogliate la gallery per scoprirne un’anteprima e vi aspettiamo dal vivo al Salone del Parlamento, Castello di Udine.📍
⏳Ancora per poco: la mostra sarà visitabile fino al 18 ottobre 2026
📅Da martedì a domenica, dalle 10:00 alle 18:00
(ultimo ingresso 17:30)

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La mostra “Terremoti e Trasformazioni” è un progetto del Comune di Udine - Civici Musei e del CRAF, realizzato in collaborazione con l’OGS (Centro di Ricerche Sismologiche) e La Cineteca del Friuli. A cura di Silvia Bianco, Antonio Giusa, Vania Gransinigh e Andrea Pertoldeo.

#UdineMusei #TerremotieTrasformazioni #DavideDegano #FotografiaContemporanea #CastelloDiUdine

@comune_udine @craf1987 @craf_fotografia.contemporanea @ogs_it @silviettabianco @il_pert @giuliaiacolutti @davidedegano @marinacaneve @olivo.barbieri

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📸 Il nostro viaggio tra le opere di “Terremoti e Trasformazioni” prosegue verso il 18 ottobre, ultima data per visitare la mostra. Oggi cambiamo prospettiva e vi invitiamo ad approfondire le fotografie di Davide Degano attraverso l’elemento della ferrovia.🚆

Costruita tra il 1875 e il 1879 e documentata da Carlo Noya a conclusione dei lavori, la linea Udine-Pontebba fu messa a dura prova dal terremoto del 1976. 🛤️
A Gemona il festival di street art Elementi Sotterranei ha trasformato parte della città ricostruita dopo il sisma in un vero e proprio museo diffuso di arte urbana, in cui la ferrovia assume un ruolo centrale.
Degano immortala uno dei murales di Gemona che non è una semplice documentazione di uno spazio urbano ma diventa unione di diversi livelli di significato: architettura contemporanea, memoria collettiva, storia culturale locale e trasformazione delle forme di comunità. 🤝

Sfogliate la gallery per scoprirne un’anteprima e vi aspettiamo dal vivo al Salone del Parlamento, Castello di Udine.📍
⏳ Ancora per poco: la mostra sarà visitabile fino al 18 ottobre 2026
📅 Da martedì a domenica, dalle 10:00 alle 18:00
(ultimo ingresso 17:30)

…………………………………………………………………………
La mostra “Terremoti e Trasformazioni” è un progetto del Comune di Udine - Civici Musei e del CRAF, realizzato in collaborazione con l’OGS (Centro di Ricerche Sismologiche) e La Cineteca del Friuli. A cura di Silvia Bianco, Antonio Giusa, Vania Gransinigh e Andrea Pertoldeo.

#UdineMusei #TerremotieTrasformazioni #DavideDegano #FotografiaContemporanea #CastelloDiUdine

@comune_udine @craf1987 @craf_fotografia.contemporanea @ogs_it @silviettabianco @il_pert @giuliaiacolutti @davidedegano @marinacaneve @olivo.barbieri

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Fresco di stampa e pronto da sfogliare 📖
Il catalogo della mostra "Terremoti e Trasformazioni" è disponibile nel bookshop dei Musei del Castello di Udine. Un progetto che spazia dall'Ottocento a oggi, fondendo storia, fotografia, scienza e le opere di quattro fotografi contemporanei.
Il momento perfetto per passarlo a prendere? Proprio questi ultimi giorni prima della chiusura della mostra ⏳

📍 Come averlo:
▪️ nel bookshop dei Musei del Castello
▪️ via posta scrivendo a bibliotecaarte@comune.udine.it

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🇮🇹💚🤍❤️
#photobookcombos
#photobookjousting

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A Udine durante la manifestazione Friuli Doc al Cafè Amadeus fra le opere mie ("Finestre Esistenziali") e di Alida Puppo ("Figure Etniche"), alla Galleria FARE' per la mostra d'arte "Journey into shame" con le opere di .K, Andrea Grossi, al Castello di Udine alla mostra fotografica "Terremoti e trasformazioni" con le foto di Olivo Barbieri, Marina Caneve, Davide Degano e Giulia Iacolutti), presso il locale Italian Secret alla mostra d'arte "Profumo di Donna" di Sergio Marino (a cura di Vito Sutto e Michael Pasut), con Cristiana, Marco e Chiara.

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Today I want to share Do-li-na, a project that brings many of the questions developed throughout my practice back to the borderland where I grew up.
The work began with a personal discovery. Only after my grandmother’s death did I learn about her Slovenian heritage, which had remained largely unspoken within my family. This silence led me to the archives, where I encountered documents connected to the Fascist Italianisation of the region and the systematic suppression of minority languages and identities.
But what interested me increasingly was not only what the archive preserved, but what remained absent. These gaps became a way of thinking about how history is constructed, transmitted and forgotten, and about photography’s own role within this process.
In Do-li-na, I approach photography as a field of tension between representation and omission. A photograph can reveal, but it also frames, excludes and constructs. Rather than accepting documentary photography as reliable evidence of reality, the work asks what happens when its claim to truth is made unstable.
Large-format photographs, archival material, oral histories and nocturnal videos are brought together without forming a single authoritative narrative. Instead, different forms of knowledge coexist, contradict and interrupt one another.
The title refers to the dolina: a karst depression, but also a term used locally for secluded mountain basins. For me, these landscapes became a way of returning to the margin not simply as a geography of exclusion, but, following bell hooks, as a space from which other forms of memory and belonging can emerge.
Do-li-na does not attempt to reconstruct what has been lost. It stays with the gaps, allowing absence itself to remain visible.
#documentary #staged #photography #analog #visual

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Today I want to share Romanzo Meticcio, a project that began with a seemingly simple question: what does it mean to be Italian?
Starting from my own Italian, Colombian and Slovenian family background, the work gradually expanded into a broader investigation of how Italian identity has been constructed and represented. It looks at the relationship between the present, Italy’s colonial past, and histories of both internal and international migration.
Rather than understanding these histories separately, Romanzo Meticcio looks at how they intersect. The construction of a unified national identity has always depended on defining its margins: the South, border territories, racialised subjects, minorities and those whose identities complicate the idea of a homogeneous nation.
Photography plays a central role in this process. During the colonial and Fascist periods, images were not simply records of reality but instruments through which racial difference, belonging and exclusion were made visible and normalised. By placing my photographs in dialogue with archival images and documents, I wanted to question this visual inheritance and how its traces continue to shape the present.
The work does not attempt to replace one definition of Italian identity with another. Instead, it proposes identity as something plural, unstable and continuously transformed, opening a space for other ways of imagining belonging.
Romanzo Meticcio was published by Artphilein Editions in 2024, with texts by David Forgacs, Igiaba Scego, Davide Valeri and myself.
#photography #Photobook #visual #decolonial#studies

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Today I want to go back to Sclavanie (2015–2021), the project through which many of the questions that still inform my practice first began to take shape.
Sclavanie developed in the mountainous borderlands between Italy and Slovenia, a territory where part of my family comes from and where Italian, Slovenian and Friulian identities have long overlapped.
The title refers to a term originally connected to the Slavic origins of these communities, which over time acquired a derogatory meaning for people living in the mountain border areas who maintained their linguistic and cultural difference.
I approached this territory from an unstable position, simultaneously familiar with it and distant from it, belonging to it while also returning as an outsider. Photography became a way of negotiating that position rather than trying to define the place or fix its identity.
Over the years, I photographed landscapes, people and everyday traces of communities transformed by migration, depopulation and the erosion of collective life. What began as an exploration of a specific territory gradually became a reflection on belonging, cultural transmission and the ways identities persist while continuously changing.
Looking back, Sclavanie also marked the beginning of my interest in the margin as a generative space: a place from which established ideas of identity, territory and belonging can be reconsidered.
Sclavanie was published by Penisola Edizioni in 2021. A second publication followed the 2023 solo exhibition at the Museo Friulano della Fotografia in Udine, published by studiofaganel. Copies are still available.
#ContemporaryPhotography #Photobook #DocumentaryPhotography #VisualResearch #Borderlands

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For the first day of my takeover, I want to introduce my practice.

I was born in Sicily and grew up in Friuli Venezia Giulia, close to the Slovenian border, within a family history extending across Italy, Colombia and Slovenia. These geographies have shaped my interest in the margin, not simply as a peripheral space, but as something produced through the ways people, places and histories are represented.

Taking Italy as a case study, I look at how photography and visual culture have participated in constructing the idea of a monolithic national identity, and, with it, the margins against which that identity has been defined. This research often begins in archives, where I look as much at what is absent as at what has been preserved.

This way of reading the archive also informs how I approach photography. If an archive is shaped by what it includes and omits, a photograph is too. I am interested in this tension between representation and omission, challenging the assumption that documentary photography provides a transparent or reliable account of reality. Rather than simply recording what is there, images frame, construct and circulate particular ways of seeing.

My relationship to these histories is inevitably shaped by my own position. The struggles experienced by previous generations of my family have informed how I understand the histories I encounter, while I am also aware that I approach them from a position of access and privilege that was not available to them.

I return here to bell hooks’ understanding of the margin as a space of radical openness: not only something produced by structures of power, but a position from which dominant narratives can be questioned and counter-narratives can emerge.

Over the next few days, I’ll share some of the works through which these questions have taken shape.

#ContemporaryPhotography #VisualResearch #ArchivalPractice #VisualCulture #DocumentaryPhotography

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We’re delighted to have Davide Degano as our next Guest Takeover @davidedegano

Davide Degano (b. 1990) is an Italian visual artist whose practice examines how images participate in the construction of memory, identity and collective imagination. Moving between photography, archival research, moving image and installation, he approaches the photographic image not as neutral evidence, but as a site of tension between what is made visible and what remains absent.

Born in Sicily and raised in Friuli Venezia Giulia, with Colombian and Slovenian family backgrounds, Degano often begins from personal histories to address broader questions of belonging, migration, nationalism and the construction of dominant historical narratives. Borderlands, both geographical and symbolic, recur throughout his work as spaces in which identities and histories remain fluid and contested.

His work has been exhibited internationally, including at Fotografia Europea, Festival Circulation(s), Encontros da Imagem and the Biennale Rencontres Photographiques de Guyane. His books include Sclavanie and Romanzo Meticcio, published by Penisola Edizioni in 2021 and Artphilein Editions in 2024. Image from series Romanzo Meticcio

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Zbog vremena odgađamo otvorenje izložbe i koncert za subotu 22.8. u 20.30h. Nažalost, Davide tada neće biti s nama, ali njegovi radovi i divan projekt spremni su i čekaju vas u kulturnom centru!

Vidimo se u subotu!

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