DI NOTO, Giorgio. The Arab Revolt. [Rome]: [Self-published], (2012). -EDITION OF 20

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DI NOTO, Giorgio.
The Arab Revolt.
[Rome]: [Self-published], (2012).

4to (247 × 195 mm), pp.[56]. 30 black-and-white photographs. Afterword by Di Noto in Italian and English. Grey endpapers. Grey cloth-covered boards. Black-and-white photographic reproduction inset into window on front. Signed and numbered by Di Noto in pencil on colophon. Original inkjet print (237 × 178 mm) signed and numbered in pencil on verso, laid in as issued. Fine.

First and only edition of just 20 copies. Giorgio Di Noto was born in 1990 in Rome, where he still works and lives. In 2012, he was selected for the Reflexions Masterclass and won the Marco Pesaresi Prize for his project ‘The Arab Revolt’.

‘I’ve never been to North Africa.’ Di Noto writes. ‘I began working on this project at the end of 2011, one year after the first uprisings of what the Western media would then call the Arab Spring. The documentation for these events was for the most part provided by the populations involved who, using smart-phones and small video cameras, published and shared pictures and videos of the revolts on the internet.

This particular layer of representation, that so much informed the media coverage of the conflicts and that came to overlap with the events themselves, became the ground I worked on to experiment and investigate through photography the relationship between language and content of images. I watched and studied hundreds of videos on the internet, singling out individual frames which I would then re-frame and photograph from my computer screen with a Polaroid camera. The black-and-white instant films made it possible to capture and extract single images from the fast-flowing stream of the videos without showing the screen surface: both pixels and low-definition flaws disappeared, melting with the film’s peculiar emulsion and bringing the virtual image back to its concrete state as a real and material object.

Through this ambiguity, which managed to conceal the nature of the photographs, I wanted to represent the overlap between documenting and witnessing, between pictures produced (and post-produced) by photographers and home-made pictures provided by people actually participating in the events.'

Only 1 copy in OCLC: New York Public Library.


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