1. *** - A FUNDAMENTAL DIGRESSION-***
.*** You must know that I don't like to “talk”(Especially for my artistic work), to describe my work: so , in drawing up this
summary, this document , I will use "concepts, digressions, definitions”, already having been used § ^^^by Others , in defining
the NYC-Work. : “as a DOCUMENTARY ARTIST” I am able to write about the fundamental aspects of my work .
Anyway I've always left to the audience, the observers , to judge, express opinions, give responses, regarding my work.
-I ask you also politely, "to take your –time” to read .
Thank you.
***§*** ***§***
***AN INFORMAL SUMMARY WRITTEN IN FREEDOM***
-Some informations to your attention to help you better understand “who I am and what I do” ***
>I am 36 years-old .
>I am a northern-italian .
>I am half -”veneziano- Venice ”-where I was born and have been living till the age of 21-and half ”bergamasco-Bergamo”-
>I began to study photography"The Photography" at the age of eighteen, in London:
At - "The University of London" –London- General Studies in photography.
>Subsequently, the - "Institute European of Design "-, Milan. Here I studied fashion photography, Documentary Photography ,
Anthropology:” the evolution of the semantics and the semiotics throughout history",“Media communication: the structure of
the advertising system” .
In Milan I won a 6 month scholarship to study at “The SPEOS”, Paris where I have studied: “Contemporary art photography”
and “Classical painting”.
>At the age of 22 years (1993-94), I "covered" as a freelance, unpaid, the last 4 days of "The Bosnian War" ; the "story" .My
first job as a Documentary Photographer, I had 22 years old, was as freelance-not - paid.
We went by car with my Brazilian partner (an escape-pilot) to "document" the last 4 days (- 1993 -) of "The war in Bosnia," between
Sarajevo and Mostar .
We Put "a large handwritten sign PRESS" on the windshield car and ”we walked into the conflict."
- In that particular situation, I felt calm, lucid, at ease, "smooth":
I was putting in pose the military, I was looking for the wounded-dying; I was feeling-the adrenaline "climb", shoot after shoot.
My buddy has not "made a picture", on the other hand, when he heard the gunfire shots,- he accelerated the car to the maximum "for
faded."
Pilot escape.
-In Those days ,when we went back in Milan,an Italian war photographer has asked me to go to work with him. I realized
that I never wanted to become "a war photographer" for a specific reason:
*Personally I think and believe, that in “such”a context, to"take" a glaring, spectacular ,"in the negative sense","in the negative
meaning", image on the skin of who brutally dies it is too easy, immoral, "useless", sometimes disgusting also documenting only the
"facade side" without showing the real, the true and the more “deep mechanisms” of why that war is fighting, beeing
fought.
On my way to conceive "The Photography", documenting practically nothing, apart “what they want to make you see”; so the work
become a matter of addiction to the adrenaline ,made few exceptions ; Robert Capa , James Natchway... .
.>>>I never digitized the images, I have obviously the negatives , but I will not propose or show the work. Matter of moral
principle.
>"MOVING INTO THE GREY" -Personally, I have always wanted to see, feel, know, understand, perceive and assimilate, "
what is hidden, concealed behind the appearance” To document an objective truth .
"Always moving myself in the Shadow Zone- between the grays , searching with my good eye closed where are the hidden real
motives".
>Returned from Colombia, where I have been living for six month, I have product and published on the most important national
Magazine, a work about “The Autism”; subject that has never been proposed , published and shown.in the history of the Italian

2. press. I have someattached a text and images about the work.
> I have been asked to "hold" a "three month workshop" of Photography at the "Royal Institute of Thailand," Bangkok.
> I worked -a year- in Cuba, with Ernesto Bazan.
> I have been working in Central America (with Antonin K.-contacts°°°) for one year (Mexico - Guatemala - Belize - Honduras -
Nicaragua - El Salvador- Panama- Colombia) "documenting" various subjects and situations (...) .
>I have been living and working for three years in Sao Paulo, Brazilas, as a teacher of Photography at “The I.E.D.-
BRAZIL”the only Italian University recognized in Brazil, etc,etc,etc.
-During this period I have worked for -The Italian Government “as government geopolitical analyst” by treating the inter trade
relationship between Italy, Brazil and Argentina - Brazil ", S.P. .
-I Drafted / learned / taught the first course certified by the Brazilian Government.course of "The Photography" at the
"I. E.D. "- Sao Paulo, the only Italian University recognized in Brazil.
- In S.P. we have founded a "Magazine", which IT is and has "object" of study in the universities in Brazil, also for as I have
"treated" the topic of "The Italian Community in Brazil."
* The editorial setting I wanted-it was to emphasize the "Italian Excellence" in Brazil.Community which have contributed
fundamentally into industrialize the country.
> I worked in Southeast-Asia, (Viet Nam - Burma -Thailand -Philippines ...) for two years.
-In particular in Cambodia I "covered"> " the XDR-TB." Argument that we have reported in depth and completeness , I think
by only two documentarians world wide: James Nachtwey and "me".
I have attached "some significant images" and a “text” .
> I have published, exhibited, sold "my work" both nationally than internationally etc. etc .etc. .
°°°-Note-°°°Do not look for informations on me online; I wanted to close "my web site" -then you will understand why.
>>>*<<<-”Finally Let's say” I have completed" my studies , my academic-training , my“own personal concept and vision”- in
New York, At - "The International Center of Photography" - .
-In “The City” I have enhanced my "skills", refined "My talent", gaining an awareness, deeper and more accurate perception,
cognition and conscious enable into "the capacity to analyze and decode" - broadly and complete -, the occurrence of certain
events in special conditions: "exercising" these aforementioned particular abilities- in many different "sectors" and
“situations”.
In that period Antonin “The Mofo” Kratochvil, asked me (he has choosen me also for the work I would be developing in The
City)to go to work with him after finishing the program: so i did_.
" We were/ are just -naturally sympathetic-”: we developed a relationship, both professional then of deep friendship based on
mutual respect.
Relationship that lasted for 14 years and that it has been interrupted,I have to admit without shame,for my own personal
responsibility.
°Working with ANTONIN In New York was great fun for me: I have, therefore, worked with him -(2000-2003)- for 3 year plus one
spent in Central America with his contacts (...). ° In this "period of time" we "covered" and “produced”: from” Homage to Abu
Ghraib to Milos Forman, from David Bowie, to Liv Tyler ,from the Chief of the N.Y.P.D., from Bono to The illegal De Beers mining
and more”.
*In brief “they said”I have acknowledged, I developed and amplified an unique instinct, an “analytical perceptive
sensibility- sensitivity " - higher than the average; unconsciously thinking and rationally acting ,reacting , at the same time .
-Not many people in the world can have the "special kind of access” like Antonin .
-It was very informative as well ”revelatory” watching very closely the Kafkian mechanism – that “manages and pilot” -the world
media information system: "The fiction becomes reality and the reality fiction: for then" to shift in a-sort of "unique hybrid
scenery" in which the boundary lines do not exist anymore.
§I have to “admit” that in all these years, Antonin was for me, a fundamental point of reference, (professionally he was/is
considered "a Living Legend", considered one of "All Time Best Documentary in The History") but especially on the human-
factor : like “a sort” of father that “love” your work and tells you. We had a "strong- understanding, a special inter relationship-
friendship-that goes beyond the simple friendship” .
>>>Working with Antonin, I have calibrated and fully developed. " very special personal methods and skills”; I will always be

3. "grateful" to him for had choosing me.
***In this three and a half years that I have worked in New York (2000-2003), before,- during and after 9/11, I "structured",
"created", during that very special historical moments, a "Concept -Work " with the City as a "scenario “.
-Antonin , he has always pushed and encouraged me with his wise words and through "his great facts" keeping –telling me to
finish the "NYC- Work"; for a part of that job he wanted me with him.
With his enthusiasm he made me very proud of myself, making me aware of having "earned" The Respect (His like that of the
others ones), working -on the field -in-zones: applying myself at the max and beyond my strength ; risking, at the same time
unconsciously than consciously, my life itself .
-From New York, through Milan, Central America, -back in New York again; then, through Brazil- Sao Paulo, Thailand- BKK back
to Italy ,he have always said, spurred on me , with your wise words and through your great facts, to finish the "NYC-WORK".
-“A NEW LEVEL”-
°It seems I have “ended the old level", to create-reach “a new one”, conceiving , by using-shifting an innovative, unconventional
method to “portrait” the Mankind’s things” : the -Level-that I have "shaped" and “molded”, it is "sculpted” with a fresh,
original imagery, made of "a matter", that is aesthetic, conceptually-philosophically universal and innovative: easily
decipherable, when compared with “the current context” of our life.
***§***
-“THE NEW YORK CITY KABALLA DANCE -QUANTUM PROJECT”-
-“LOOKING FOR MY TEDDY BEAR”-
§-The-New-Yorkers-Lobby-§
*** Relevant and Essential ***
°-Powerful men of Art and Culture, "Luminaries" by global "caliber"***§**** True enlightenment already in “The
Olympus of the mankind's art history”they say:
§***I have elaborated and articulated, during these years a”new concept of the visual image ,contemplating both the use of
a specific semiotic (scientific rational part)technique “pushed at it's maximum llevel”to**^ stylized a single-visual concept
“made also of Quantistich, Kaballa, Mistery. also to create a “THEY SAID” “An Timeless Opera ” because has inside ,
“touchs" extremely sensitive and fundamental topics of the past , the present and the future.
°°°"They"explained me that, historically, the only, possible, conceivable kind of Contemporary Art will be, especially over the
future shape, the one which “tells” and “describe” our Time like “THE NYC WORK”:
Through an "innovative" semiotic , but easily interpretable Unique language, "Looking for my Teddy Bear”, transmits and
shows", like a mirror," representatives absolute meanings of the past , present and future mankind-time" into the interlocutor,
the observer he, universally , acknowledges , looking at the Images, “as if he is watching his own reflection , the shape of
himself, his life” .
-"THE SAME VALUE AS GOLD"-
Paraphrasing them said that: "... in essence," the NYC-Work "-it has, due to its characteristics, implicitly and explicit,(Using an
euphemism...as another it could used) the same value of gold”.>
^^^Those Luminares, they explained me, with precise reasoning on contemporary art history, with a wise cognition and with an
unexceptionable historically analysis of the mechanisms of the Art Market,- moved by the competent lobby so:
The today market , for years now, for social-economic cultural contributing factors (the global crisis- that will "reach", in
perspective, peaks and higher levels etc .etc .etc) will set out- the "actual specific weight" of a -contemporary-work as "The
Black Magic NYC Kaballah Dance Quantum Project "," Looking for my Teddy Bear ,”> calling it-considering it priceless", with
a value that will increase in the future.
***They told me I have developed “the Saeed” for a “ new visual full form to portray the reality” and so I have, as a matter of
the facts, created “a different art”: configuring a turning point that "can be made" only by using photographic tools. .
-When I was “working on this” I did not have all the perceptions- I was "shaping" an unique semiotic but, I was conscious, in a
work in progress, I was ”creating-marking” a precise new point of absolute-universal reference, but always
"relative" because a "projection".
>It would appear “, I succeeded, taking also into consideration, what has been "told" me by eminent people:
I shutdown the “contemporary and classical visual art” by creating a "meme-matrix”, the substance of which is made by a multiple
types, kind of different truths, both known that unknown, merged into one personal form of perception and projection, searching and

4. defining new -signifiers, unique and totally original in their content by documenting our time, using a sort of "Kafkian- Method”.
>°Through a research and an analysis by using an unusual point of view-approach in to analize“ the human-things”(often
hidden under different aspects and meanings), I have finally found one truth, one vision, one dimension, alternative and
parallel, at the same time, to that one of the human knowledge:
Using a crossover-combining different "disciplines", "methods", "cultures", "philosophies", “arts”,
“religions”,”techniques”... .
°°°§°°°Above all, especially , at the end of the day , using my instincts. .
-"THE LOW ENERGY WAVES " -
–
***Let me be for once self-referential without appearing a complete fool.
§ From 2000 to 2003- so I have been “shooting” almost everyday in Town -producing the material which later , then it would be
structured the work.
In that "period" of time in the City “there was a very special energy”, I would write, using an euphemism" a very dark-powerful
permanent tension on the island of Manhattan."
I was photographing “around”, in a "work in progress", practically every day and that "moved" my research in a particular direction,
this before the event.
The 70 percent of the work was photographed before September 11.
-When "Happened" the 9/11, we were not "amazed" that much; we were, in fact , "talking" a lot , wondering, -with almost rhetorical
tone-, how it was not happened yet a 'sensational event in Manhattan; something striking that could move the "center of the world
gravity’s policy” (economically -socially- culturally, militarily ...) to the west of the globe. "
An example only to make you understand:-before 9/11, when I showed up in ICP with"a line- images" for “an essaiment” that C. H.
( ***“R.I.P.” ***) gave to the class, he was completely astonished , amazed, incredulously “looking to that line”:
He keeped asking me, for a good hour, what I meant , “what I was meaning to say”: then he reported back to A. M. that “in ten years
of teaching at “The MIT-NYC”, he had met very few people like me and he wanted to help me too ... .
I am “telling” you this because , as a matter of the facts, what “I was meaning”, at the time without any self knowledge, it is what
happened after.
-I can summarize in a single phrase what I think , what I want to do for the reasons "mentioned above" and more:
*The “History of The SCHOOL OF NEW YORK ” foresees that-to close the circle,“when you create a New Level which
naturally deserve Its feed- back”, must-be " brought back in New York”- to the New-Yorkers.
This is so that I would like for reasons that rationally I respect .
This is "The School of New York”. These are “Its” Traditions that must be complied and respected: It is the "History" (History
repeats itself- in a "circular flow of time" , like a "loop") which "tells" the rules.
If you mean my words, my thoughts.
Period.
***I repeat that in describing “the work” I tried, I used words, concepts, thoughts etc.etc.etc that -”others”- have used about
“IT”.
°Obviously to understand “my concept” -the Work- has to be “looked, seen”:
“The rest are just words... .”
“IN ADVERSA ULTRA ADVERSA”
C.M.R.

5. P.S.
To defuse.
“AN INTERESTING –EXPLANATORY ANECDOTE”-
-“HOMER”-
During the "collapse" of the Towers, with my friends and colleagues, I was in the darkroom to print, we went
down to "ground - zero", to help.
Twenty-four hours after the collapse, -the restricted area-,was monitored constantly- "live by the satellite" -.
Impossible to have access (...).
We have "placed" out from the only "entry" : in-one instant, "a very strange character” (I have "portrait"
him) is moved out of the zone: he was wearing the classic accident prevention 'yellow helmet with , written by
hand in black felt pen in front of the helmet itself- "Homer"-.
My colleague and me, just amazed, asked him what he thought about the event.
>>>The man,”HOMER”, to paraphrase, he replied:
"This is the greatest Masterpiece I've ever seen in my life".
C. M. R.

6. P.S.
To defuse.
“AN INTERESTING –EXPLANATORY ANECDOTE”-
-“HOMER”-
During the "collapse" of the Towers, with my friends and colleagues, I was in the darkroom to print, we went
down to "ground - zero", to help.
Twenty-four hours after the collapse, -the restricted area-,was monitored constantly- "live by the satellite" -.
Impossible to have access (...).
We have "placed" out from the only "entry" : in-one instant, "a very strange character” (I have "portrait"
him) is moved out of the zone: he was wearing the classic accident prevention 'yellow helmet with , written by
hand in black felt pen in front of the helmet itself- "Homer"-.
My colleague and me, just amazed, asked him what he thought about the event.
>>>The man,”HOMER”, to paraphrase, he replied:
"This is the greatest Masterpiece I've ever seen in my life".
C. M. R.