In a suspension where seemingly nothing happens but everything is ever changing, places assume a true identity. These places are in constant mutation, nurtured by a parallel space time, punctuated by the television programming, a city within a city that lives forever in the shadows, as a sort of magical stasis.
Unexpected landscapes that emerge through the darkness that soothes and nourishes at the same time tensions. If in a TV show the performer is put in the foreground, to surveillance cameras the performer is us, the main actors of reality with the eyes still fixed on the fiction of the TV screen.
Milan, Italy over the redbrick dotted blanket of the former Caproni (oldest Italian aircraft factory), deep within the body of an industrial architecture of the early twentieth century, today lives the production center Rai (national television).
On the outside it projects a spectral and worn image, a suspended past, on the inner side it reveals a joint machinery, that is not industrial anymore, but fully incorporated and necessary to the finally established civilization of the spectacle. A stark contrast between the industrial ideological modern past and the post industrial, post ideological and post modern present that unfold in the same place creates a strong dichotomous dimension articulated in the layers of the epidermis and in the most hidden limbs. Television spaces in which various and supersaturated colours collapse are abysmal, but equally abysmal are those former industrial spaces where a century collapses carrying a limited color selection. It is spectacle what is recorded in studios, as well as spectacle is paradoxically the photographer who sneaks between the maze of surveillance cameras, triggering a stratified dialogue between image, recording, enjoyment, meaning.