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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Giuseppe Cardoni
Giuseppe Cardoni
Giuseppe Cardoni

Giuseppe Cardoni

Country: Italy
Birth: 1957

He lives in Umbria, is an engineer, he prefers B/W reportage. He has been part of the Leica Photographic Group where he had the opportunity to attend Masters of Italian photography such as with Gianni Berengo Gardin, Piergiorgio Branzi, Mario Lasalandra. He is co-author, with the RAI journalist Luca Cardinalini, of the photographic book STTL La terra di sia lieve. (Ed. DeriveApprodi, Rome, 2006); with Luigi Loretoni he published in 2008 the photo book Miserere (Ed. L'Arte Grafica), in 2011 Gubbio, I Ceri (Ed. L'Arte Grafica) and in 2014 Kovilj (Ed. L'Arte Grafica). Also in 2014 he published Boxing Notes (Edizionibam) reportage on the world of boxing with which he won international awards. He has dedicated himself for some years to the photography of musical events and in 2019 he published "Jazz Notes" a personal intimate point of view on jazz atmospheres.

He has exhibited his work in numerous solo and group exhibitions in Italy and abroad. Award-winner or finalist in national and international competitions (has achieved these personal results in more than forty contests over the past three years).

I am interested in making photographs with a strong personal connotation, which correlated with my interiority represent a reality poised between the flow of time and abstraction. Giuseppe Cardoni

All about BOXING NOTES

Nonna Mira, the real boxing enthusiast of the family, set her alarm for 3 a.m. and called my father and me (just a boy) to watch big matches live from Madison Square Garden in New York. With this memory, I went looking for those atmospheres and values of the great boxing of the sixties and seventies.
Ropes, wooden planks, nails, torn carpets, peeling walls, worn-out shoes, feet, gym bags, towels, robes, sacred images, iron stairs, neon lights, grimaces of pain, laughter of victory. Boxing.
For instance from the "poor" gym, Academia de Boxeo Henry Garcia Suarez, in Holguin (Cuba), have come Olympic and world champions. And you’d never guess.I was attracted by the almost paternal respect for the coaches and champions, the discipline for training, friendship among companions, the rhythm of legs and veins, pride and courage.Boys begin training at the age of 10 years, sometimes without headgear and shoeless, chasing victory with bare hands and with many dedications: for themselves, their families, their country. As the President of Italian Boxing Federation said "It seems a paradox, but the ring is one of the few places in the world where men are really equal, where they fight for their dreams regardless of status, race or culture. Alone, without even difference in clothing, they face each other as equals, without the help of machines, without external support, without any outside help"
 

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More Great Photographers To Discover

Amy Anderson
United States
1977
Amy Anderson is an award-winning portrait photographer living in Minneapolis, Minnesota. Her work has been exhibited internationally and hangs in local and national galleries, museums and private collections. She has had works acquired by the Museum of Fine Arts, Houston and the Florida Photographic Museum. She has received the prestigious Minnesota State Arts Board grant in 2012 and again in 2018 resulting in several solo shows. Funded again in 2021 by the state of Minnesota, she is currently working on a new body of portraits exploring ways to encourage reconnection in her own community after a time of isolation and unrest. Statement I strive to impact my community by creating authentic portraits that explore the universal themes that connect us as humans. My practice has been to live alongside a community and create connection with the people I photograph in hopes of presenting a meaningful image of a an individual to our larger collective community. I have completed several large, multi-year projects including At Risk, With Promise ; a series exploring the challenges and triumphs of at-risk youth in Minnesota. Over the course of this project I explored themes like marginalization and resilience, adolescence and personal growth, disconnection and intersecting identities. At Risk, With Promise culminated in a full and completed body of work that received recognition and was included in many local and national exhibitions. In 2018 with funding from the Minnesota State Arts Board, I began a new body of work exploring these and other themes in the context of several different communities, most significantly the elderly. Working closely with one woman, Rose Kaprelian, allowed me to dig deeper into the everyday realities of this nearly invisible marginalized group. As a nonagenarian in a culture increasingly connected by technologies that are foreign and largely inaccessible, women like Rose face isolation and stagnation as they age. This work is developing to encompass many universal themes from a unique perspective as well as preserving voices that are fading from our collective conversations. During the isolation and uprising in my city in 2020 I continued to make portraits as a way to document and explore the events that changed our world. From window portraits of those who were isolated to protest photos of those who marched, each image was an attempt to connect with my community and explore the changing landscape in which we found ourselves. I continue this exploration daily.
Marcos Zegers
Chile
1987
"I am a Chilean photographer, with a background in architecture and with a strong interest in geopolitical, territorial and migration conflicts. My work focuses on long-term documentary projects in which I illustrate urgent situations through a careful and studied proposal. My work has been exhibited in Chile (Animal, Ekho Gallery), and fairs in London, Paris, Shanghai and New York and I participated in photo festivals as PhotoEspaña (Esp), Format (UK) and FIFV (Chile). Recently my documentary project was published on The New York Times which gave me the opportunity to start working as a freelancer for the same newspaper. I teach at the University Diego Portales in Chile where I currently live." About Mining and Exodus in the Atacama Desert This visual essay is the narrative of an endless journey through the desert and the Andes Highlands in Bolivia and Chile. A paused and deep journey through places full of memory. What appears to be photographs of elements randomly dispersed throughout the territory, when consciously grouped together, are transformed into a linear narrative linked to the extractive era. Like a map that is revealed in parts, a harsh story uncovers the relationship between mining activities and cultural displacements, all united under a common element in dispute, water. Following the course of the extractive history of colonial Latin America, what was rubber in Iquitos, cane in the Caribbean, gold in Guanajuato, or silver in Potosi, in Chile was the nitrate (saltpeter). For almost two centuries, the Atacama Desert has been a constant source of mineral resource extraction. The "Saltpetre Offices" has left the mark of an era of wealth and exploitation. Today the situation repeats itself as an exact cycle: what was nitrate, passed to copper, and today, it turns to lithium. Right in the middle of this extractive history are the woman and the man who inhabited the territory. On the one hand, there is the Aymara woman who walks and grazes the cattle in the Andean mountain range. She has not seen the face of the mining company. However, they critically meet in the use of the same resource: water. The excessive water consumption by mining companies has dried the soil, making livestock and agriculture unviable. Consequently, the highlands man has been forced to go down to work in the city, where possible, the job to which he aspires, is precisely in mining. This uncovers a vicious circle which is greatly enhanced by the government's lack of attention to these isolated areas. The risk is profound. The desert has not been completely unravelled. It continues to have lots of minerals, and at the same time, it stalks a climate change that will not stop any time soon. In Chile the water is sold, the water rights belong to private. This situation has alarmed the inhabitants of this territory, amongst organizations and activists who wage real legal battles in the courts. This visual essay, far from addressing the issue on all its extents, seeks to contribute to the latent conversation about extractive practices and the current economic model in Chile. To bring back this apparently scenic desert to an urgent reality, promoting a reflection that contributes to the appreciation of rural territory and its culture.
Damian Lemański
Damian Lemański aka Damian Wolf Wagabunda Polish freelance photojournalist documenting the life around him. He is mainly interested in people and their place in today's world - especially those left aside, on the margins of society. In 2008 he graduated from the European Academy of Photography in Warsaw - Dr Izabela Jaroszewska's school. He took part in workshops led by Kadir van Lohuizen, Pep Bonet, Tanya Habjouga, Espen Rasmussen, Stefano De Luigi, Tomasz Tomaszewski, Michael Ackerman, Lorenzo Castore. Vagabond and dreamer. At the turn of 2011 and 2012 he wandered for 181 days through South America. From this solitary expedition he edited the film 181. And in 2015 he set off on his bike from Korsze in Masuria (Poland) to Africa, to reach Dakar in Senegal after 171 days. During this expedition, together with the foundation Hear Africa, he raised money for the education of a deaf girl, Makane Dieng. From this expedition, Damian created the film Restaurant, which premiered in February 2018. In early 2019, he flew to the Greek island of Lesbos, where Europe's largest refugee camp is located, because he wanted to get to know the people that so many are afraid of without knowing them at all. For a few weeks, walking between tents in the so-called jungle next to the Moria camp (which he was not allowed into) and in other places on the island, he met hundreds of people who willingly invited him to join them around the campfire for warm tea or a meal in the tent that is currently their home, shared bread they had just baked in an oven dug into the ground, and shared heartbreaking stories. He met people who live in inhumane conditions and try to maintain their dignity, people who, having little, get offended if you don't eat enough, when they offer what they have. He also met there a wonderful Greek couple, Katerina and Nikos, who 6 days a week host the residents of the Moria and Kara Tepe camps for dinner in their restaurant and take the meals to the place. They are assisted by many volunteers, including from Poland. In October 2019, he visited Senegal again - this time to document the work of the Polish Medical Mission. At that time, he met Huleje (Little Princess) and her parents. Since 2017, every now and then he visits Lunik IX, a Roma settlement in Kosice, Slovakia, where he left his heart among the children living there. On a daily basis, he tries to love.
Saul Bromberger
Israel/United States
1957
Saul was born in Israel in 1957 and emigrated to America with his family when he was 9-years old, and learned about the American culture and way of life through his work as a newspaper photographer. He has worked with his wife Sandra Hoover as a photography team for 35+ years. Throughout their years of working together they have produced documentary and personal projects with the first one being their 7-year photo essay project 'Pride - Hearts of the Movement: The San Francisco Gay & Lesbian Freedom Day Parade: 1984-1990,' when the LGBTQ community was marching for its civil rights and uniting in fighting the horror of AIDS. Their other documentary photo essays include 'House of Angels-Living with AIDS at the Bailey-Boushay House: 1992-1995, 1997,' about the lives of people in their last months of life at the first AIDS hospice in America in Seattle, WA., scenes of daily life in American communities with 'Our American Portraits: 1978-2006,' and are currently working on an ongoing project about the men and women who are long term HIV survivors with 'Portrait of the AIDS Generation.' They've had solo exhibits at PhotoCentral Gallery in Hayward, CA., and at Moorpark College, CA., and been part of numerous group shows in galleries that include the Harvey Milk Photo Center in San Francisco, CA. Their work is currently being archived by the Dolph Briscoe Center of American History, at the University of Texas in Austin, TX., and starting on 9.14.2021, they will be represented by ffoto.com in Toronto, Canada. American Portraits: 1978-2006 Many years later now that I am 63 years old, I have learned that it was in my early 20's when I had found my voice. It was then that I realized that my point of view had value and that I had something important to say and share with the world. I was capturing poignant scenes in our communities that I felt were significant for how they described the American culture, moments that captured American as well as universal sensibilities. Scenes that captured essential truths about people's hopes and their successes, their challenges and despair, their individuality and their relationships, during their day to day lives in our American communities. Scenes that defined an American way of life for me. Over the 28 years of this documentary project, from 1978-2006, this is what drove me to create a portrait of America that I had observed as an outsider, because of my experiences as an immigrant where I never really fit into American society. I was born in Israel in 1957, immigrated to America as a 9-year-old with my family in 1967, and as a teenager I helped my parents run our restaurant, while in high school I barely said a word in 4-years. It was through photography then that I found myself, as I discovered over time that I could connect with people, reveal my personality, express my opinion, interpret what I saw and felt, and be recognized and honored for my way of seeing. Starting in the late 1970's, I found myself gravitating to scenes that pulsated with American themes and values. I had become a photo-journalist working for several newspaper photography staffs in California and Washington State, and oftentimes during my assignments I also captured these scenes in social gatherings, parades, business events, political receptions, at county fairs, and much more, scenes that excited me for how they captured an America that I was beginning to understand. Scenes where many people, often white and wealthy, have a life of excess and privilege, while many other people struggle just to survive. People who live in small rural towns and in the larger cities, each group with its own pace of life and traditions, with American values that are vastly different from one another. An America that I found fascinating and perplexing, that I was documenting from an outsider's point of view. Solo Exhibition September 2021 American Portraits: 1978-2006
Evgenia Arbugaeva
Evgenia Arbugaeva (born 1985) is a photographer of the Russian Arctic. Having grown up in Yakutsk, she has an empathy with the people living in the far north and the difficult living conditions they experience, and several of her photographic projects have involved them. The National Geographic has funded her to photograph the people and economic changes on Russia's northern coast. Arbugaeva was born in Tiksi, a small port town of the Sakha Republic on the Arctic Sea, near the mouth of the Lena River. As part of the Soviet Union, Tiksi supported military airfields and became the world's most northern settlement with over 5000 people. Her memories of the place include pink mountains, whiteout snowstorms in which she lost all sense of place, fields of snow colored green or gold by the surrounding light, and auroras in the endless night of winter. One of her childhood heroes was explorer Jacques Cousteau. At the age of eight, and at the fall of the Soviet Union, she and her family moved to Yakutsk, "the coldest city on earth" and a place that she found much less visually appealing. She studied management in Moscow before moving to New York City. There, she studied photography at the International Center of Photography, graduating in 2009. 19 years after moving from her hometown, Arbugaeva decided to move back to Tiksi because she could no longer remember anything from the town. These memories had faded so much to the point where they seemed unreal. Arbugaeva's photographic method involves living with her subjects on a long enough term to become friends with them and for them to relax in front of her camera. For instance, in one of her projects she traveled with Siberian hunters for the tusks of mammoths, newly exposed by global warming. She won the trust of the hunters by stitching up the injured hand of the head of the group. She often works without a camera, scouting locations that she returns to frequently until the lighting and inspiration combine to give her a photo. In 2010 Arbugaeva returned to Tiksi, now becoming a ghost town, on a personal visit to compare it to her memories, but left the town with only one photo she liked, of a teenage girl playing on the seashore. Inspired by the photo, she traveled back to Tiksi in 2011 to meet the girl and her family and to document their daily life, overlain with her own memories. Despite the decline of the town and the difficult life there (which drove her host family to plan their own departure), her photos in this project are "bright and whimsical, their compositions and vivid colours redolent of the books she read there as a child". Arbugaeva learned of the weather stations of northern Russia in a dog sledding incident, when she and her father had to take shelter from bad weather at one of the stations. In her project Weather Man, she took a two-month passage on an icebreaker to 22 of the stations, including the station at Khodovarikha, where she met meteorologist Vyacheslav (Slava) Korotki. The portrait taken of Vyacheslav Korotki is an intimate story of an individualistic man, who is facing the fading winter of the Arctic. In early 2014, she returned to Khodovarikha by helicopter for a two-and-a-half-week visit and photography session with Korotki. Based on this work, a much darker series of photos than the ones from Tiksi, she published a profile of Korotki in The New Yorker. Arbugaeva's other photography projects have included nomadic Yakut reindeer herders in Sakha, and Amani, a sequence of fictionalized images set on an abandoned anthropological research station on a former German coffee plantation in Tanzania. Arbugaeva is the 2013 winner of Leica's Oskar Barnack Award for her work in Tiksi, for which she also received a Magnum Foundation International Emergency Fund grant in 2012. In 2018, National Geographic named her as one of their four inaugural Media Innovation Fellows, funding her to photograph the people and economic changes on Russia's northern coast.Source: Wikipedia
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