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<channel>
	<title>Tommaso Vitiello</title>
	<link>https://tommasovitiello.com</link>
	<description>Tommaso Vitiello</description>
	<pubDate>Mon, 16 Oct 2023 21:45:02 +0000</pubDate>
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		<title>Home Page</title>
				
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		<pubDate>Mon, 29 Mar 2021 13:01:58 +0000</pubDate>

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		<title>Projects</title>
				
		<link>https://tommasovitiello.com/Projects</link>

		<pubDate>Thu, 13 May 2021 23:27:06 +0000</pubDate>

		<dc:creator>Tommaso Vitiello</dc:creator>

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	Archèo

Causa Prima
Naturale Sconosciuto
	Archèo
2018/2021


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Ho scavato attraverso la memoria degli sconosciuti. Ho cercato le storie interrotte di un mondo una volta abitato, un mondo ormai fermo e di cui restano solo reperti, le tracce di un vissuto domestico passato, avvolto nel silenzio e in una lunga attesa, come se il tempo stesso avesse perso la sua consistenza. Che valore hanno le cose? Sulla base di questo quesito, per&#38;nbsp; tre anni ho condotto una ricerca fotografica attraverso le vite e le case delle persone, nello specifico nelle loro soffitte, cantine, depositi e scantinati, quei luoghi in cui sono riposti oggetti di una vita, scatole e ricordi da proteggere e custodire come fossero rarità preziose. Luoghi di cura dove, col passare del tempo, queste cose vengono dolcemente dimenticate, lasciate ai margini lì dove non possono essere viste come in una topografia di oggetti, una costellazione sotterranea. La polvere custodisce e protegge gli oggetti e assieme alla luce gli dona nuova vita. Su ogni oggetto toccato, resta l’impronta di una storia personale e universale, la storia di una famiglia che ha vissuto questi oggetti. Come quella sedia damascata che ci accolse nel salotto buono della memoria, quella tavola imbandita con cucchiai d’argento o quella poltrona su cui ci raccontavano vecchie storie attorno a un fuoco.
Gli oggetti parlano. Ci parlano degli affetti quotidiani e dei sogni della notte e poco importa se ci sono appartenuti. La forza delle loro storie ci sorprende sempre, come un piccolo miracolo capace di valicare lo spazio e il tempo e di far riaffiorare alla nostra mente e nella nostra anima, storie sopite ma mai sepolte che ci riportano alla radice del tempo, agli affetti più cari, ai volti e alle voci che ci hanno accompagnato negli anni. Gli oggetti, i primi abitanti della casa, i lasciti delle famiglie che vi hanno vissuto. Nel caos e nella pienezza di questi spazi, ho posto la mia attenzione ai vuoti, lì dove qualcosa mancava, lì dove c’era ho cercato ciò che non c’è, in una epidemia di dipendenza dalle “cose", che si diffonde e radicalizza, ho concentrato lo sguardo lì dove le cose invece restano, lì dove gli oggetti stessi decidono di fermarsi come a voler sfuggire alla loro natura di muti testimoni.
 Le storie che ho cercato prendono forma nei silenzi e nei vuoti degli oggetti fotografati, che sembrano essere lì da secoli, ai limiti del tempo e dello spazio, scoloriti dal passare degli anni, memoria di luoghi che sono stati spettatori di eventi umani. Non un semplice deposito di cose, ma materia vivente, dove la memoria non appare congelata bensì spazio organico i cui frammenti si ricompongono in un modo nuovo e inaspettato. Cantine e soffitte in cui le famiglie e generazioni hanno depositato le proprie memorie in attesa di un tempo imprecisato in cui sarebbero state ritrovate; il momento in cui la soffitta viene riaperta e la polvere spazzata via, ridando aria e respiro a quei luoghi sepolti e sospesi mentre tutto attorno scorre.
Gli oggetti come monoliti nella terra, muti e senza peso, diventano archivio della memoria e le immagini documenti storici di un vivere quotidiano: un’archeologia domestica composta da storie&#38;nbsp; addormentate nella loro forma.


	
		
		
	
	
		
			
				
					
						ENG&#38;nbsp;

I dug through the memory of strangers. I searched for the interrupted stories of a world once inhabited, a
world now stopped and of which only the finds remain, the traces of a past domestic experience, wrapped in
silence and in a long wait, as if time itself had lost its consistency. What value do things have?  Based on this question, for about three years I have been conducting a photographic research through the
lives and homes of families, specifically in their attics, cellars, warehouses and basements, those places
where objects of a lifetime, boxes and memories to protect and preserve as if they were precious rarities.
Healing places where, over time, these things are gently forgotten, left on the margins where they cannot be
seen as in a topography of objects, an underground constellation. The dust guards and protects objects and
together with the light gives them new life. On each object touched, the imprint of a personal and universal
history remains, the story of a family that lived through these objects. Like that damask chair that welcomed
us into the good living room of memory, that table set with silver spoons or that armchair on which old
stories were told around a fire.
Objects speak. They tell us about daily affections and dreams of the night and
it doesn't matter if they belonged to us. The strength of their stories always surprises us, like a small miracle
capable of crossing space and time and bringing back to our mind and soul, dormant but never buried
stories that take us back to the roots of time, to the dearest affections., to the faces and voices that have
accompanied us over the years. The objects, the first inhabitants of the house, the legacies of the families
who lived there. In the chaos and fullness of these spaces, I put my attention to the voids, where something
was missing, where there was I looked for what is not there, in an epidemic of independence from "things",
which spreads and radicalizes, I concentrated my gaze where things remain, there where the objects
themselves decide to stop as if to escape their nature as mute witnesses.  

						
The stories I sought take shape in the silences and voids of the objects photographed, which seem have
been there for centuries, at the limits of time and space, discolored by the passing of the years, the memory
of places that have been spectators of human events. Not a simple deposit of things, but living matter,
where memory does not appear frozen but organic space whose fragments are recomposed in a new and
unexpected way. Cellars and attics where families and generations have deposited their memories waiting
for an unspecified time when they would be found; when the attic is reopened and the dust swept away,
giving air and breath to those buried and suspended places while everything around flows.  

						
The objects like monoliths in the earth, silent and weightless, become an archive of memory and the images
are historical documents of everyday life: a domestic archeology made up of stories asleep in their form.

					
				
			
		
	








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		<title>Works</title>
				
		<link>https://tommasovitiello.com/Works</link>

		<pubDate>Mon, 16 Oct 2023 21:45:02 +0000</pubDate>

		<dc:creator>Tommaso Vitiello</dc:creator>

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		<title>Archèo</title>
				
		<link>https://tommasovitiello.com/Archeo</link>

		<pubDate>Tue, 16 Mar 2021 00:08:37 +0000</pubDate>

		<dc:creator>Tommaso Vitiello</dc:creator>

		<guid isPermaLink="true">https://tommasovitiello.com/Archeo</guid>

		<description>
	Archèo

Causa Prima
Naturale Sconosciuto
	
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Archèo2018/2021

testimòne s. m. e f. – 1. a. Persona che, assistendo, avendo assistito, o essendo comunque direttamente a conoscenza di un fatto, può attestarlo, cioè farne fede, affermarne pubblicamente la veridicità, o dichiarare come esso realmente si è svolto b. Con senso più oggettivo, persona chiamata o venuta ad attestare un fatto di sua conoscenza (o che si presume tale), oppure a garantire la veridicità di un’asserzione.  2. Chi fa fede di qualche cosa o l’attesta, comprovandola con la propria autorità. 3. Cosa, oggetto, manifestazione, aspetto che rappresenta un indizio o una prova, una dimostrazione o una documentazione palese. 

Che valore hanno le cose?
In un mondo di accumuli e rifiuti, ho cercato di focalizzare la mia attenzione su tutto ciò che resta, sui reperti di una vita domestica passata.
Ho cercato storie interrotte di un mondo un tempo abitato, un mondo ora fermo e di cui restano solo frammenti, le tracce, avvolte nel silenzio e in una lunga attesa, come se il tempo stesso avesse perso la sua consistenza. In un presente caratterizzato dall'ossessione dell'acquisto, del consumo, del nuovo e dell'accumulo incondizionato e irrazionale, ho cercato in luoghi specifici come cantine, soffitte, garage, magazzini, tutto ciò che resta, gli oggetti che decidono di fermarsi come a voler sfuggire alla loro natura di muti tetimoni, scatole e ricordi da proteggere e conservare come se fossero preziose rarità.
Nel caos e nella densità che dominano questi spazi, ho rivolto la mia attenzione ai vuoti, dove mancava qualcosa, dove c'era ho cercato quello che non c'è, in un'epidemia di dipendenza dalle "cose", che dilaga e si radicalizza,&#38;nbsp; ho concentrato il mio sguardo lì dove le cose assumono un significato. Luoghi curativi dove, nel tempo, queste cose vengono dolcemente dimenticate, lasciate ai margini dove non possono essere viste come in una topografia di oggetti. La polvere custodisce e protegge gli oggetti e insieme alla luce dona loro nuova vita. Su ogni oggetto toccato rimane l'impronta di una storia personale e universale, la storia di una famiglia che ha vissuto attraverso questi oggetti.
Gli oggetti, i primi abitanti della casa, l'eredità delle famiglie che l'hanno abitata. Le storie che ho cercato prendono forma nei silenzi e nei vuoti degli oggetti fotografati, che sembrano essere lì da secoli, ai limiti del tempo e dello spazio, scoloriti dal passare degli anni, memoria di luoghi che sono stati spettatori delle umane vicende.
Non un semplice deposito, ma materia viva, dove la memoria non appare congelata ma spazio organico i cui frammenti si ricompongono in modo nuovo e inaspettato.
Gli oggetti come monoliti nella terra, silenziosi e senza peso, diventano archivio della memoria e le immagini sono documenti storici della quotidianità: un'archeologia domestica fatta di storie addormentate nella loro forma, a testimonianza di una vita umana che può ancora essere salvata. .
ENG&#38;nbsp;

wit·ness  1. Attestation of a fact or event. 2.One that
gives evidence. 3. One asked to be present
at a transaction so as to be able to testify to its having taken place 4. One who has personal knowledge of something. 5. Something serving as evidence or
proof.



What value do things have?  In a world of accumulations and waste, I tried to focus my attention on all that remains, on the finds of
a bygone domestic life. I searched for the interrupted stories of a world once inhabited, a world now
stopped and of which only fragments remain, the traces, wrapped in silence and in a long wait, as if
time itself had lost its consistency.In a present characterized by an obsession with buying, consuming, new and unconditional and
irrational accumulation, I have searched in specific places, cellars, attics, garages, warehouses,
everything that remains, the objects that decide to stop as to want to escape their nature of silent
witnesses, boxes and memories to be protected and preserved as if they were precious rarities. In the chaos and density that dominate these spaces, I put my attention to the voids, where
something was missing, where there was I looked for what is not there, in an epidemic of addiction to
"things", which spreads and radicalizes, I focused my gaze there where things take on a meaning.
Healing places where, over time, these things are gently forgotten, left on the margins where they
cannot be seen as in a topography of objects. The dust guards and protects objects and together
with the light gives them new life. On each object touched, the imprint of a personal and universal
history remains, the story of a family that lived through these objects. The objects, the first inhabitants of the house, the legacy of the families who lived there.The stories I
have been looking for take shape in the silences and voids of the photographed objects, which seem
to have been there for centuries, at the limits of time and space, discolored by the passing of the
years, the memory of places that have been spectators of human events. Not a simple deposit, but living matter, where memory does not appear frozen but organic space
whose fragments are recomposed in a new and unexpected way. The objects like monoliths in the earth, silent and weightless, become an archive of memory and the
images are historical documents of everyday life: a domestic archeology made up of stories asleep in
their form, as evidence of a human life that can still be saved.

					
				
			
		
	







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	<item>
		<title>Causa Prima</title>
				
		<link>https://tommasovitiello.com/Causa-Prima</link>

		<pubDate>Tue, 16 Mar 2021 00:44:38 +0000</pubDate>

		<dc:creator>Tommaso Vitiello</dc:creator>

		<guid isPermaLink="true">https://tommasovitiello.com/Causa-Prima</guid>

		<description>


	


Archèo
 Causa Prima
Naturale Sconosciuto
	

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Causa Prima
2014/2016Infanzia d’argento.
Principio di vita e principio di morte,

scatola di luce piena di meraviglia.

Con quali occhi ho guardato?

Quante volte mi sono perso in questa geografia di pietra?

Crosta emotiva pregna di pioggia.
Mi sono immerso in un abisso senza bordi,
pieno di vuoto
come argento vivo.
Come nel grembo del mondo,
in attesa,
in silenzio.
Una geografia immaginaria incisa nella roccia, un paesaggio nascosto sotto gli occhi di tutti, che vive solo per un breve intervallo di tempo prima di asciugarsi e scomparire.Ho vagato per molto tempo con lo sguardo basso in cerca di forme e di orizzonti, rendendomi conto che sotto i miei piedi c'era un paesaggio parallelo, insolito e nuovo.Come la vista in volo o da un satellite, la roccia sotto di me prendeva sempre più la forma di una mappa, fino ad all'ora invisibile ai miei occhi, fiumi, montagne, deserti e laghi si formavano di volta in volta dopo la pioggia e grazie alla luce. Causa Prima o l’inizio di tutte le cose. L' acqua quale elemento libero e in continua trasformazione. Libera da qualsiasi vincolo, capace di trasformarsi e assumere qualsiasi forma, così che in nessun momento è uguale a sé stessa. &#38;nbsp;Il "substrato" aristotelico, tutto ciò che sta sotto e che regge, il fondamento su cui tutto poggia e può vivere, ciò che permette di edificare la vita, dal grembo materno all’oceano immenso. Così ai miei occhi si è rivelata la cartina di un mondo altro, un mondo interiore, attraverso cui ho provato a orientarmi. 

Napoli, 2014-2016



ENGChildhood of silver.
Principle of life and principle of death,
light box full of wonder.
With what eyes have I looked?
How many times have I lost myself in this geography of stone?
Emotional crust full of rain.
I plunged into a borderless abyss,
full of emptiness
like quicksilver.
As in the womb of the world,
on hold,
in silence.
An imaginary geography engraved in the rock, a landscape hidden under everyone's eyes, which lives only for a short time before drying out and disappearing.
I wandered for a long time with my gaze lowered in search of shapes and horizons, realizing that under my feet there was a parallel, unusual and new landscape.
Like the view in flight or from a satellite, the rock below me increasingly took the shape of a map, until now invisible to my eyes, rivers, mountains, deserts and lakes formed from time to time after the rain and thanks to the light.
First Cause or the beginning of all things. Water as a free and continuously transforming element. Free from any constraints, capable of transforming and taking on any form, so that at no time is it the same as itself. The Aristotelian "substrate", everything that is underneath and that holds up, the foundation on which everything rests and can live, what allows life to be built, from the maternal womb to the immense ocean. So in my eyes it revealed itself as a map of another world, an internal world, through which I tried to orient myself.

Naples, 2014-2016








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		<title>Naturale Sconosciuto</title>
				
		<link>https://tommasovitiello.com/Naturale-Sconosciuto</link>

		<pubDate>Tue, 16 Mar 2021 22:17:19 +0000</pubDate>

		<dc:creator>Tommaso Vitiello</dc:creator>

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Archèo
Causa Prima
Naturale Sconosciuto
	

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Nord2014Una farfalla vola il suo bianco.Il cielo respira nel sereno.E’ mattino pieno in questa partee c’è una mano sul tavolinouna mano poggiata alla fronte.Ansima un cane molto vicino.Un’aria fresca dalla finestra.Un vetro riflette una cimadi pianta da cui parte un filoluccicante di ragnatela.Popolata è la terra di sostanzee le belle forme ricoprono il pianetae la mano che scrive è così lieta orache pensa “offro questa pacea chi è dentro una pena grande”.
Si spicca in quel mentre un voloe quel niente che accadepare un andare a berenell’intera sostanza che nutre.Una preghiera pare tutto
il cielo. Una preghiera il verdedelle piante.

M.Gualtieri,
da “Naturale Sconosciuto”



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</description>
		
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	<item>
		<title>About</title>
				
		<link>https://tommasovitiello.com/About</link>

		<pubDate>Mon, 15 Mar 2021 23:52:19 +0000</pubDate>

		<dc:creator>Tommaso Vitiello</dc:creator>

		<guid isPermaLink="true">https://tommasovitiello.com/About</guid>

		<description>
	
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	Tommaso Vitiello&#38;nbsp; was born&#38;nbsp; in Mercogliano (AV) in 1992, a small town nestled in the mountains of southern Italy. He approaches the world of art and photography above all thanks to his father, professor in art history and his mother, dancer and director of dance theater. In 2016 he graduated from the Faculty of Arts and Cultural Heritage with a thesis in Critics and Methodology of the History of Art, entitled "NAPLES PHOTOGRAPHED", curated by the art historian Carmela Vargas. Later he trained in photography and lighting technology at the two-year course of the Manovalanza theater company with the photographer and light designer Davide Scognamiglio, thus he also began a career as a set photographer of the company.In 2015 he joined Stefano Gargiulo's KAOS PRODUZIONI, a multidisciplinary work group that deals with the design and implementation of multimedia, scenographic and exhibition projects, creating installations and multimedia itineraries in the main museums of Naples and beyond. From 2018 he deals with the photographic and video documentation of the special FOODISTRIBUTION project curated by Davide Scognamiglio and Daniele Ciprì, a scientific and artistic research project that connects the analysis of the housing process with theater, photography and lighting, today in its sixth edition. In 2020 he joined the team of the DIGITAL ECOSYSTEM project promoted by the Campania Region, for the photographic digitization of the cultural heritage of the Real Bosco and Capodimonte Museum in Naples. For several years, as a photographer and videomaker, he has collaborated in storytelling and photographic documentation works with Manovalanza, Arthemisia, MADRE Museum, Capodimonte Museum and Campania Teatro Festival Italia Since 2018 he has been part of the "LAB for an Irregular Laboratory" curated by the artist Antonio Biasiucci, a workshop lasting about two and a half years aimed at creating a personal photographic project, the result of a great creative exchange between the participants and the artist. He currently works as a freelance photographer in the field of stage&#38;nbsp; and backstage photography, storytelling, exhibition and in the commercial field.
Tommaso Vitiello nasce&#38;nbsp; a Mercogliano (AV) nel 1992, un piccolo paese incastonato tra le montagne del sud Italia. Si avvicina al mondo dell'arte e della fotografia soprattutto grazie al padre, professore in storia dell'arte, e alla madre, danzatrice e regista di teatro danza .Nel 2016 si laurea presso la Facoltà di Lettere e Beni Culturali con una tesi in Critica e Metodologia della Storia dell'Arte, dal titolo "NAPOLI FOTOGRAFATA", a cura della storica dell'arte Carmela Vargas. 
Successivamente si forma in fotografia e illuminotecnica al corso biennale della compagnia teatrale Manovalanza con il fotografo e light designer Davide Scognamiglio, inizia così anche un percorso lavorativo come fotografo di scena della compagnia.Nel 2015 entra a far parte di KAOS PRODUZIONI di Stefano Gargiulo, un gruppo di lavoro multidisciplinare che si occupa della progettazione e realizzazione di progetti multimediali, scenografici ed espositivi, realizzando installazioni e percorsi multimediali nei principali musei di Napoli e non solo.&#38;nbsp; Dal 2018 si occuppa della documentazione fotografica e video del progetto speciale FOODISTRIBUTION curato da Davide Scognamiglio e Daniele Ciprì, un progetto di ricerca scientifica e artistica che mette in relazione l'analisi del processo abitativo con il teatro, la fotografia e l'illuminazione, oggi alla sua sesta edizione. Nel 2020 entra nel team del progetto&#38;nbsp; Ecosistema Digitale promosso dalla Regione Campania, per la digitalizzazione&#38;nbsp; del patrimonio culturale del Real Bosco e Museo di Capodimonte a Napoli. Da diversi anni, come fotografo e videomaker, collabora a lavori di storytelling e documentazione fotografica con Manovalanza, Arthemisia, Museo MADRE, Museo di Capodimonte e Napoli Teatro Festival Italia. Dal 2018 fa parte del "LAB per un Laboratorio Irregolare" curato dall'artista Antonio Biasiucci, un laboratorio di circa due anni e mezzo finalizzato alla realizzazione di un progetto fotografico personale, frutto di un grande scambio creativo tra i partecipanti e l’artista. Attualmente lavora come fotografo freelance nel campo della fotografia di scena e backstage, storytelling, allestimenti e in campo commerciale.




&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;</description>
		
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		<title>C.V.</title>
				
		<link>https://tommasovitiello.com/C-V</link>

		<pubDate>Mon, 15 Mar 2021 23:52:21 +0000</pubDate>

		<dc:creator>Tommaso Vitiello</dc:creator>

		<guid isPermaLink="true">https://tommasovitiello.com/C-V</guid>

		<description>CONTACTS
cell: +39 3316275431email: tommasovitiello@hotmail.it

︎ INSTAGRAM
︎︎︎
member of&#38;nbsp; “LABper un laboratorio irregolare"www.laboratorioirregolare.com

awards/mentions
2021 Special mention in&#38;nbsp;call 'WHAT'S THE URGENCY?',&#38;nbsp; Urbanautica - Institute of Visual Anthropology and Cultural Landscapes.
2021 Honorable mention at 6° Portfolio sul Po (TO),&#38;nbsp;18° Portfolio Italia – 2021 – Gran Premio Fujifilm

2021 Honorable mention at the third edition of &#38;nbsp;Passepartout Photo Prize&#38;nbsp;
2021 Honorable mention in fine art category&#38;nbsp;at&#38;nbsp;MonoVisions Photo Awards
2021 Featured with Archèo at the third edition of&#38;nbsp;&#38;nbsp;Passepartout Photo Prize&#38;nbsp;
2021 Shortlisted in Fine Art category &#38;nbsp;FAPA- Fine Art Photography Awards
2021 Finalist with Archèo at&#38;nbsp;FestFotoPoA Festival Internacional de Fotografia de Porto Alegre

 2021 Shortlisted at&#38;nbsp; World Water Day 4th edition2020 Featured with Archèo at second edition of&#38;nbsp; Passepartout Photo Prize

exhibition2025 DIO D’ACQUA festival di arti diffuso with CAUSA PRIMA.
2023&#38;nbsp;Epifanie03 - Laboratorio Irregolare III Edizione&#38;nbsp; Budapest Photo Festival 2023, Budapest Hungary
















2022 Forestart &#124; Foresta Arte Contemporanea, un progetto di PrimoPiano
in con Magazzini Fotografici e KROMÌA, sotto il Matronato della Fondazione
Donnaregina per la arti contemporanee MUSEO MADRE.
2022Epifanie03 - Laboratorio Irregolare III Edizione Bottega di Cecè Casile, Milano, Italy
2022 Epifanie03 - Laboratorio Irregolare III Edizione, PHOTOLUX FESTIVAL 2022, Villa Bottini, Lucca, Italy
2022 Epifanie03 - Laboratorio Irregolare III Edizione, Galleria del Cembalo, Rome, Italy 
2021-2022&#38;nbsp;Epifanie03 - Laboratorio Irregolare III Edizione, ARCOS - Museo Arte Contemporanea del Sannio, Benevento, Italy&#38;nbsp;
2021 Epifanie03 - Laboratorio Irregolare III Edizione, Complesso San Domenico Maggiore, Napoli, Italy2021&#38;nbsp;FestFotoPoA Festival Internacional de Fotografia de Porto Alegre, online-exhibition 2020 MADRE,&#38;nbsp;Fondazione Donnaregina per le arti contemporanee-Museo Madre, video-exhibition site specific, Napoli, Italy&#38;nbsp;

press/participation


	
		
		
	
	
		
			
				
					
						
2025&#38;nbsp;Fundraising campaign "NAPOLI PER GAZA" by Filosofia fuori le Mura e Lab Irregolare, to help Emergency doctors in Palestine
2021 Corriere della sera, Corriere del Mezzogiorno, story by Vladimiro Bottone
2021 LAGGIÙ / Sezione Letteratura Campania Teatro Festival 2021, a cura di Silvio Perrella
2021 Accademia della Tuscia, online class meeting, moderator Giovanni Fiorentino, presentation of the project Lab/Per un Laboratorio Irregolare and the Archèo photographic project;
2021 Matinal Jornalismo, by Riccardo Romanof for Festival Internacional de Fotografia de Porto Alegre
2021 Corriere della sera, Corriere del Mezzogiorno, story by Vladimiro Bottone
2021 Ecologie Politiche del Presente, by Salvo Torre2020 Fundraising campaign "RICOMINCIO DA UNA FOTO" by PianoTerra Onlus e Lab Irregolare, to help the consequences of the Covid19 crisis
education
 2018-2021 Masterclass with Antonio Biasiucci, Napoli, Italy
2018 Workshop “Foodistribution - Laddove il Piano Marshall sembra non essere arrivato”, with masters in lighting Davide Scognamiglio, Daniele Ciprì, Peppe Lanci e Pasquale Mari, Napoli , Italy2017 Workshop with DOP Daniele Ciprì, Napoli, Italy2016 Workshop “Dolomites. Photography Workshop with Antonio Biasiucci”, Ex Villaggio ENI, Borca di Cadore (BL), Italy2016-2018 Masterclass in Photography and lighting with Davide Scognamiglio, Manovalanza Theater Company, Napoli, Italy

2014 Degrees in Tourism and Cultural Heritage, thesis in Critique and Methodology of the History of Art, UNISOB, Napoli, Italy



				
			
		
	









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