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Our Own Roof

Andrés Mario de Varona


96 Pages
15x30 cm
Soft cover
Art direction Tommaso Parrillo
Design by Giulia Boccarossa
With the support of FOLIO, a masterclass by PhMuseum
Published in November 2024
ISBN 979-12-80177-41-4

€27
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Our OwnRoofis a collection of images from two separate yet intertwining projects: Contact and Trials made over the course of 7 years from 2016-2023. Mymother’s auto-immune disease in 2016 began my obsession to re-invite death back into our home. I wanted to build a connection to death; hold space for it ceremonially instead of understanding it as a mistake, which I feel is often the way American/Western culture handles death. Moving to New Mexico my obsession with death morphed into an obsession for life. My chosen family indirectly helped me let my mother go. The outcome was a visual record of testimonies; each image representing a standalone saga in that individual’s life. Just as my mother’s body became a battleground for survival, my desert studio became a battleground for personal peace. All collaborators (including myself) are pictured as a living memorial. I consider these images to be victories and acts of defiance against the natural hardships that stem from being human- of being mortal, fallible, and “wrong”.






A Study on Waitressing

Eleonora Agostini


168 Pages
23x28 cm
Soft cover
Editing Tommaso Parrillo
Design by Massimiliano Pace
Text by Joanna Walsh
Published in November 2024
ISBN 979-12-80177-42-1

€38
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Estimated shipment mid Novemebr.

Go to the special edition


Eleonora Agostini's A Study on Waitressing is a multi-layered investigation on waitressing used as a metaphor to explore ideas of gender behaviours, societal expectations, and performing in and for the public.
The work scrutinizes the fictionalized image of the ‘waitressing woman’, by exploring the stage, the backstage, and the performative aspects of this role.
Agostini looks at mundane gestures and postures, commonplace objects and materials, strategies and visual codes of the service industry context to reflect upon power and gender dynamics, labour, representation, and the gaze.
Central to the project is the figure of Agostini’s mother, whose postures, movements, and behaviours serve as a focal point. This figure becomes a vehicle to explore the visible and hidden aspects of identity, emphasizing the social roles performed in daily interactions. The restaurant setting acts as a microcosm where the body mediates between observer and observed, highlighting the theatricality inherent in everyday life.

A Study on Waitressing delves into the relationship between labour and personal life, between vulnerability and strength, between the public and private, between the observer and the observed, and between a mother and daughter.






La Teoria del Vuoto

Tommaso Bonaventura
Alessandro Imbriaco
Fabio Severo


208 Pages
24x32 cm
Soft cover
Design by Mauro Bubbico and Roberto Lenza
Texts by Alessandro Carrer, Clemente Miccichè, Valerio Aiuti, Rossana Gnasso and Rocco Sciarrone
With the support of Fondazione Garuzzo
Published in October 2024
ISBN 979-12-80177-36-0

35€
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With support of  Ministero della Cultura – Direzione Generale Creatività Contemporanea. Winner of the public contest “Strategia Fotografia”.



La Teoria del Vuoto (The Void Theory) originates from a photograph depicting a scene of everyday life in Buccinasco, a suburb near Milan. Years ago, in that quiet rural setting, some weapons were found, hidden or abandoned by unknown people. This discovery gave rise to a web of episodes, places, and people that spread across Italy, reaching as far south as Platì, a small town near Reggio Calabria whose history has been intertwined with the one of Buccinasco for decades. The photograph stems from Corpi di Reato. Un’archeologia visiva dei fenomeni mafiosi nell’Italia contemporanea, a photographic project by Bonaventura, Imbriaco, and Severo, presented for the first time in 2012. Corpi di Reato explored the Italian landscape in search of the traces left by the mafia, grappling with the invisibility of this widespread and ever-changing presence, which has transitioned from violent massacres to silent infiltration. La Teoria del Vuoto picks up this investigation, taking it in new directions where the central question becomes how photography can continue to narrate and document today. The void serves as a metaphor for the expansion methods of organized crime: void can be understood as the permeability of territories unprepared for the criminal threat, the ease with which clans establish themselves; a void is also what they carve out in the social fabric, eroding legality. Lastly, the void also reflects the gap between the surface image and the deeper reality of places like Buccinasco
and Platì: the former appears to be an orderly town in Northern Italy, while the latter is a hidden stronghold in the Aspromonte mountains.












Acedia

Louise Desnos


112 pages
23x29 cm
Hard cover
Editing and design by Tommaso Parrillo
Graphic design by Ilaria Miotto
Published October 2024
ISBN: 979-12-80177-44-5

37€
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Acédia: a state of pain and affliction linked to a lack of motivation, weariness and disenchantment.

“Laziness has become a common thread in my practice. For me, it is first and foremost a means of production, since the time freed from responsibilities and remunerative work is the time I invest freely. So it’s by focusing on random elements that are both significant and insignificant, but which find no other link than a kind of everyday chance, that I’ve built up this collection of images. My mind wanders, gets lost, focuses on an element, gives it importance and then resumes its movement.”








Il Giardino

Fabrizio Albertini


128 pages
23x28 cm
Soft cover
Editing by Tommaso Parrillo
Graphic design by Federico Barbon
Text by Violetta Bellocchio
published in collaboration with Studio X-01
Published October 2024
ISBN: 979-12-80177-43-8

35  30
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First 20 copies are at special price.
Estimated shipment mid Novemebr.



“I went back to my garden.
I like to photograph it, I need it.
Something is changed,
A small movement, to the surface.
I haven’t moved too much after all.”
“Il Giardino” continues the journey that has started with “Radici”.
As in his previous chapter, the narrative is built by following the urgency of a “need to accumulate”: collecting images that surround and testify the author’s daily life.
If from one side the language remains faithful to the mechanics of Radici, on the other it introduces new themes. Themes that concern the landscape, the distance between the camera and the subject, and the horizons that derive from it. A new territory, not only intimate, but above all geographical.
Lastly: as for Radici, “Il Giardino” is a series that is born as self-analysis, as a moment for the Self, as a catharsis, and as for any other human analysis it is not a theorem and there are no solutions.
It’s just a story.
It’s just a story.