Today FSF is an independent no-profit organization
committed in the creation of photo laboratories
in difficult areas of the world
with the aim to give voice to groups of boys and girls
who can tell us their stories from their own point of view
We begin with teaching analogical photography
because for us, looking through the viewfinder of the camera
and be aware there are only 36 frames
is a fundamental way of teaching.
The latent days between the shot and the development of the film
were fundamental to think about the shot
and when the moment of the contact sheet came,
one had processed in his mind something extremely important
that, I think, is about to be missed nowadays.
We consider photography as an art to learn and study
so our laboratories were born always from a practical experience
that is dark room and analogical photography:
that magic moment we consider necessary to master the instrument.
But then, we pay very attention to see
in which way photography can be useful
to the boys and girls we work with.
I’m thinking about the lab in Palestine
where it’s hard to overcome checkpoints and walls,
where communicate with other villages is difficult.
There, to be tied up to analogical photography, was useless.
So there it was interesting to use digital photography and internet
in order to leap over the walls and to allow communication.
So our photographic experiences begin from an old but pragmatic experience
and develop up to mobiles
if it’s useful to diffuse information and culture.
Through the years we’ve done many beautiful exhibitions,
always with the idea to mix teachers’ and students’ contents
because this is just the teaching philosophy of our laboratories:
to not elevate teachers to a different level.
Here, instead, we show all the photographs donated
by all the numerous photographers who are supporting us.
I know FSF and how important this organization is
in terms of ideals, positive experiences,
far-seeing and pragmatic projects.
I like the fact that they create laboratories of photography
for young photographers in difficult areas of the world,
thinking that this people seek not only material needs or peace
but they also need to tell who they are.
It’s not lack of will but lack of know-how and means.
Among these, the photography as a language,
as a means of communication, of report, of knowledge,
a way to get in touch with the rest of the world.
I choose to be a donor in this auction
because what they do is really praiseworthy
I think FSF deserves our support
to contribute to its work, life and future
I support this auction of photography
mainly for the frame of mind FSF thinks about photography.
It’s the heart talking through the eye.
I think photography helps very much
if one teaches how to read a photograph.
In a time like this, when many are the pleas to save reportage,
it’s important to teach how to read a photograph.
Teaching photography both at a professional and amateurish level
is a way to keep on going, being contemporary.
The auction at Sotheby’s today, after more than 12 years of working,
is surely the consequence of our idea of being independent
from any political flag or economical interests,
trying to realize our projects though self-financing
such as benefit auctions and donations.
We’ve hosted many benefit auctions in the last years and months
but working with FSF has given me a lot
because they worked with such an enthusiasm and great passion
that I think is also what you can read in the catalogue.
It’s more than an auction, it’s a collection.
I can see many people coming in
so I hope it will be a great success for a great organization
in which I trust a lot. Thank you.
