{"id":236,"date":"2025-10-18T15:02:39","date_gmt":"2025-10-18T15:02:39","guid":{"rendered":"https:\/\/www.lab27.it\/?p=236"},"modified":"2025-11-27T10:12:11","modified_gmt":"2025-11-27T10:12:11","slug":"sei-un-animale","status":"publish","type":"post","link":"https:\/\/www.lab27.it\/en\/sei-un-animale\/","title":{"rendered":"Sei un animale"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":250,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[3],"class_list":["post-236","post","type-post","status-publish","has-post-thumbnail","hentry","category-mostre","tag-mostra"],"yoast_head":"\nSei un animale - LAB27<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.lab27.it\/en\/sei-un-animale\/\" \/>\n<meta property=\"og:locale\" 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0,\r\n \"colspan\": 2,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 6,\r\n \"absolute_position\": false,\r\n \"textAnimation\": {\r\n \"enableTextAnimation\": false\r\n }\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"<p><span>Lab27 opens its 2025 season on Friday, February 7 at 9 PM with the exhibition \u201cSei un animale (You Are an Animal),\u201d offering glimpses into our relationship with heterotrophic life forms and those closest to the human species.<\/span><br \/><span>For the first time, a selection of works by photographer David Chancellor\u2014one of the most dedicated and perceptive observers of African wildlife\u2014are brought together in a single show. The exhibition also includes works by Giulia Degasperi from her long-term documentary project on pastoral life in the Trentino Alps, as well as a series of portraits of Kazakh fishermen by Kyrgyz photographer Aleksey Kondratyev.<\/span><br \/><span>Humanity\u2019s gaze\u2014now also through the lens of photography\u2014has always been fixed on nature. The earliest cave paintings depict animals, often in scenes of hunting. The etymology of the word \u201canimal\u201d contains anima, the vital breath, the spirit that organically connects us to the world and brings existence to life. An animal is a living being, and therefore humans too may be considered animals\u2014though not in a \u201czoo,\u201d a Greek-derived term meant to separate rather than unite. It is precisely this intellectual division\u2014this line that distinguishes the individual from other life forms\u2014that has fueled an anthropocentric culture, placing humans at the top of the organic pyramid and reducing other beings to raw materials, canned meat, or other consumable forms.<\/span><br \/><span>It is in this context that \u201canimal\u201d becomes an adjective\u2014at times even a slur\u2014meant to reinforce this human supremacy. Yet this supposed dominance is increasingly questioned by those who see, in the frequent afflictions of our \u201crespiratory tract,\u201d in that tormented <\/span><i>anima<\/i><span>, signs of a deeper human malaise. The abolition of hunting, animal rights activism, and veganism are just some of the many faces of a growing discontent.<\/span><br \/><span>At its core lies a desire to reconfigure our relationships with other life forms\u2014not only those that are zoomorphic\u2014but also to rethink the boundaries of the soul, and the very idea of the \u201chuman passport.\u201d<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 2,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 7,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg.jpeg\",\r\n \"align\": \"top\",\r\n \"row\": 3,\r\n \"col\": 0,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 9,\r\n \"attid\": 250,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg.jpeg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg-1280x1036.jpeg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg-1024x829.jpeg\",\r\n \"_768\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg-768x622.jpeg\",\r\n \"_512\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg-512x414.jpeg\",\r\n \"_265\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg-265x214.jpeg\"\r\n },\r\n \"w\": 1772,\r\n \"h\": 1434,\r\n \"ar\": 0.809255079006772,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"caption\": \"\",\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"<p><span>David Chancellor\u2019s work focuses on the conflicting dimensions of wildlife conservation in Africa\u2014a continent that still hosts a rich and spectacular variety of fauna.<\/span><br \/><span>His photographs raise a level of interpretive complexity that mirrors the tangled forces at play: poverty and poaching, trophies and paid hunting, tourism and preservation, human pressure, enclosures and natural habitats.<\/span><br \/><span>The solution? There is no solution. Coexistence with animal species lies in the ongoing search for balance\u2014or more accurately, compromise. This precarious \u201ctightrope walk\u201d that defines conservation policy often involves controversial measures.<\/span><br \/><span>One particularly emblematic image is the portrait of 12-year-old Josie, a young hunter from Alabama, posed on horseback like a modern-day Diana, proudly holding the antlers of her prey. 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Across the flat, frozen expanses of the Ishim River, anthropomorphic figures endure sub-zero temperatures in hopes of tricking a fish or two. It\u2019s a scene of primal hunger, subsistence living, and the bare instinct for survival. And yet, this same river now runs through a futuristic capital, built from scratch thanks to oil reserves, access to global markets, and the architectural boldness of the post-Soviet era. But the photographer doesn\u2019t state any of this outright\u2014he lets it emerge quietly through the plastic packaging sheets, from who-knows-where, that the intrepid fishermen use to shield themselves from -40\u00b0C temperatures. Here, globetrotting capitalism intersects with snapshots of frozen, Paleolithic human cocoons\u2014betrayed only by their tools, and by their increasingly inescapable dependence on things.<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 8,\r\n \"col\": 2,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 29,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_3.jpg.jpeg\",\r\n \"align\": \"middle\",\r\n \"row\": 9,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 17,\r\n \"attid\": 254,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_3.jpg.jpeg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_3.jpg-1024x1280.jpeg\",\r\n \"_768\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_3.jpg-768x960.jpeg\",\r\n \"_512\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_3.jpg-512x640.jpeg\",\r\n \"_265\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_3.jpg-265x331.jpeg\"\r\n },\r\n \"w\": 1200,\r\n \"h\": 1500,\r\n \"ar\": 1.25,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\",\r\n \"caption\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_4.jpg.jpeg\",\r\n \"align\": \"top\",\r\n \"row\": 10,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 19,\r\n \"attid\": 255,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_4.jpg.jpeg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_4.jpg-1024x1280.jpeg\",\r\n \"_768\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_4.jpg-768x960.jpeg\",\r\n \"_512\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_4.jpg-512x640.jpeg\",\r\n \"_265\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_4.jpg-265x331.jpeg\"\r\n },\r\n \"w\": 1200,\r\n \"h\": 1500,\r\n \"ar\": 1.25,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"caption\": \"\",\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_5.jpg.jpeg\",\r\n \"align\": \"top\",\r\n \"row\": 11,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 23,\r\n \"attid\": 256,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_5.jpg.jpeg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_5.jpg-1024x1280.jpeg\",\r\n \"_768\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_5.jpg-768x960.jpeg\",\r\n \"_512\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_5.jpg-512x640.jpeg\",\r\n \"_265\": \"\/wp-content\/uploads\/2025\/10\/TheseDarkMountains_5.jpg-265x331.jpeg\"\r\n },\r\n \"w\": 1200,\r\n \"h\": 1500,\r\n \"ar\": 1.25,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"caption\": \"\",\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"<p><span>Giulia Degasperi embarks on a journey that is not only a tribute to her Trentino roots but also an exploration of a common inner conflict\u2014the oscillation between the rhythms of nature and those of the city.<\/span><br \/><span>After moving to Berlin, the photographer chooses to return to the mountains to capture the lives of people who live and work at high altitudes. This is the premise of her documentary <\/span><i>These Dark Mount<\/i><span>ains, and of the many questions posed by those seeking escape from contemporary society.<\/span><br \/><span>Among the Alpine peaks, Giulia explores the dreams and hopes of those who follow the age-old practice of <\/span><i>alpeggio<\/i><span>\u2014the seasonal movement of livestock\u2014contributing to the maintenance of one of Europe\u2019s most biodiverse and species-rich landscapes. Over the course of two years, she visits various barns and farms to document the solitude and extraordinary labor required to sustain a life lived outdoors: amid steaming dung, starry skies, and direct contact with animals and nature. A life of elemental exchanges\u2014indispensable and yet precarious.<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 12,\r\n \"col\": 2,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 33,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"<p><span>Beyond ecological idealism, <\/span><i>into the wild <\/i><span>aesthetics, mythopoetic romanticism, and other naturalist tendencies, what the human mind thinks\u2014remains human.<\/span><br \/><span>The nature within and around us thinks and acts in its own way: sometimes in our favor, as in digestion; other times, by dropping the sky on our heads. We are part of it all, for better or worse\u2014made of the same ingredients, mixed differently.<\/span><br \/><span>To observe animals\u2014or those life forms that have evolved apart from us\u2014and to listen to their breathing, helps us to recognize a shared soul, a vital force that manifests in an extraordinary, curious richness and diversity of forms.<\/span><br \/><span>Surely, it\u2019s not the only one in the universe. 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\"\/wp-content\/uploads\/2025\/10\/DSC6748-265x199.jpg\"\r\n },\r\n \"w\": 2000,\r\n \"h\": 1500,\r\n \"ar\": 0.75,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"textAnimation\": {\r\n \"enableTextAnimation\": false\r\n }\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"<h1 class=\\\"_H1\\\">Sei un animale<\/h1><h1 class=\\\"_H2_Grey\\\"><span class=\\\"_H1_Grey\\\">7.2 \u2013 30.3.2025<\/span><\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 1,\r\n \"col\": 0,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 4,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"<p><span class=\\\"_Def_Grey\\\">Works of<\/span><br \/>David Chancellor, Giulia Degasperi, Aleksey Kondratyev<\/p><p><span class=\\\"_Def_Grey\\\">Curated by<\/span><br \/><span>Steve Bisson<\/span><\/p><p><span><span class=\\\"_Def_Grey\\\">Orari<\/span><br \/><\/span><span>Sunday 4:30pm\u20137:30pm<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 2,\r\n \"col\": 0,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 6,\r\n \"absolute_position\": false,\r\n \"textAnimation\": {\r\n \"enableTextAnimation\": false\r\n }\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"<p><span>Lab27 opens its 2025 season on Friday, February 7 at 9 PM with the exhibition \u201cSei un animale (You Are an Animal),\u201d offering glimpses into our relationship with heterotrophic life forms and those closest to the human species.<\/span><br \/><span>For the first time, a selection of works by photographer David Chancellor\u2014one of the most dedicated and perceptive observers of African wildlife\u2014are brought together in a single show. The exhibition also includes works by Giulia Degasperi from her long-term documentary project on pastoral life in the Trentino Alps, as well as a series of portraits of Kazakh fishermen by Kyrgyz photographer Aleksey Kondratyev.<\/span><br \/><span>Humanity\u2019s gaze\u2014now also through the lens of photography\u2014has always been fixed on nature. The earliest cave paintings depict animals, often in scenes of hunting. The etymology of the word \u201canimal\u201d contains anima, the vital breath, the spirit that organically connects us to the world and brings existence to life. An animal is a living being, and therefore humans too may be considered animals\u2014though not in a \u201czoo,\u201d a Greek-derived term meant to separate rather than unite. It is precisely this intellectual division\u2014this line that distinguishes the individual from other life forms\u2014that has fueled an anthropocentric culture, placing humans at the top of the organic pyramid and reducing other beings to raw materials, canned meat, or other consumable forms.<\/span><br \/><span>It is in this context that \u201canimal\u201d becomes an adjective\u2014at times even a slur\u2014meant to reinforce this human supremacy. Yet this supposed dominance is increasingly questioned by those who see, in the frequent afflictions of our \u201crespiratory tract,\u201d in that tormented <\/span><i>anima<\/i><span>, signs of a deeper human malaise. The abolition of hunting, animal rights activism, and veganism are just some of the many faces of a growing discontent.<\/span><br \/><span>At its core lies a desire to reconfigure our relationships with other life forms\u2014not only those that are zoomorphic\u2014but also to rethink the boundaries of the soul, and the very idea of the \u201chuman passport.\u201d<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 3,\r\n \"col\": 0,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 7,\r\n \"absolute_position\": false,\r\n \"textAnimation\": {\r\n \"enableTextAnimation\": false\r\n }\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg.jpeg\",\r\n \"align\": \"bottom\",\r\n \"row\": 4,\r\n \"col\": 0,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 9,\r\n \"attid\": 250,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg.jpeg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg-1280x1036.jpeg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg-1024x829.jpeg\",\r\n \"_768\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg-768x622.jpeg\",\r\n \"_512\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg-512x414.jpeg\",\r\n \"_265\": \"\/wp-content\/uploads\/2025\/10\/chancellor1.jpg-265x214.jpeg\"\r\n },\r\n \"w\": 1772,\r\n \"h\": 1434,\r\n \"ar\": 0.809255079006772,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"caption\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"<p><span>David Chancellor\u2019s work focuses on the conflicting dimensions of wildlife conservation in Africa\u2014a continent that still hosts a rich and spectacular variety of fauna.<\/span><br \/><span>His photographs raise a level of interpretive complexity that mirrors the tangled forces at play: poverty and poaching, trophies and paid hunting, tourism and preservation, human pressure, enclosures and natural habitats.<\/span><br \/><span>The solution? There is no solution. Coexistence with animal species lies in the ongoing search for balance\u2014or more accurately, compromise. This precarious \u201ctightrope walk\u201d that defines conservation policy often involves controversial measures.<\/span><br \/><span>One particularly emblematic image is the portrait of 12-year-old Josie, a young hunter from Alabama, posed on horseback like a modern-day Diana, proudly holding the antlers of her prey. Paid hunting\u2014resembling a kind of \u201cpay-per-view\u201d service reimagined as \u201cpay-and-shoot\u201d\u2014allows the user to \u201ctarget\u201d what\u2019s necessary, while enabling the host to generate funds: money that can go toward purchasing vital equipment for park rangers or providing protein for local village communities.<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 5,\r\n \"col\": 0,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 31,\r\n \"absolute_position\": false,\r\n \"textAnimation\": {\r\n \"enableTextAnimation\": false\r\n }\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0002.jpg.jpeg\",\r\n \"align\": \"bottom\",\r\n \"row\": 6,\r\n \"col\": 0,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 11,\r\n \"attid\": 251,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0002.jpg.jpeg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0002.jpg-1280x1024.jpeg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0002.jpg-1024x819.jpeg\",\r\n \"_768\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0002.jpg-768x614.jpeg\",\r\n \"_512\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0002.jpg-512x410.jpeg\",\r\n \"_265\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0002.jpg-265x212.jpeg\"\r\n },\r\n \"w\": 1500,\r\n \"h\": 1200,\r\n \"ar\": 0.8,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"textAnimation\": {\r\n \"enableTextAnimation\": false\r\n },\r\n \"caption\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"<p><span>A disenchanted vision of the fragile, peripatetic human condition\u2014entropically wandering in search of food and shelter\u2014is revealed in Aleksey Kondratyev\u2019s series dedicated to the practice of ice fishing in Kazakhstan. Across the flat, frozen expanses of the Ishim River, anthropomorphic figures endure sub-zero temperatures in hopes of tricking a fish or two. It\u2019s a scene of primal hunger, subsistence living, and the bare instinct for survival. And yet, this same river now runs through a futuristic capital, built from scratch thanks to oil reserves, access to global markets, and the architectural boldness of the post-Soviet era. But the photographer doesn\u2019t state any of this outright\u2014he lets it emerge quietly through the plastic packaging sheets, from who-knows-where, that the intrepid fishermen use to shield themselves from -40\u00b0C temperatures. Here, globetrotting capitalism intersects with snapshots of frozen, Paleolithic human cocoons\u2014betrayed only by their tools, and by their increasingly inescapable dependence on things.<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 7,\r\n \"col\": 0,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 29,\r\n \"absolute_position\": false,\r\n \"textAnimation\": {\r\n \"enableTextAnimation\": false\r\n }\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0003.jpg.jpeg\",\r\n \"align\": \"bottom\",\r\n \"row\": 8,\r\n \"col\": 0,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 13,\r\n \"attid\": 252,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0003.jpg.jpeg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0003.jpg-1280x1024.jpeg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0003.jpg-1024x819.jpeg\",\r\n \"_768\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0003.jpg-768x614.jpeg\",\r\n \"_512\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0003.jpg-512x410.jpeg\",\r\n \"_265\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0003.jpg-265x212.jpeg\"\r\n },\r\n \"w\": 1500,\r\n \"h\": 1200,\r\n \"ar\": 0.8,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"caption\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0005.jpg.jpeg\",\r\n \"align\": \"bottom\",\r\n \"row\": 9,\r\n \"col\": 0,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 15,\r\n \"attid\": 253,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0005.jpg.jpeg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0005.jpg-1280x1024.jpeg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0005.jpg-1024x819.jpeg\",\r\n \"_768\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0005.jpg-768x614.jpeg\",\r\n \"_512\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0005.jpg-512x410.jpeg\",\r\n \"_265\": \"\/wp-content\/uploads\/2025\/10\/Ice-Fishers0005.jpg-265x212.jpeg\"\r\n },\r\n \"w\": 1500,\r\n \"h\": 1200,\r\n \"ar\": 0.8,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"textAnimation\": {\r\n \"enableTextAnimation\": false\r\n },\r\n \"caption\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"<p><span>Giulia Degasperi embarks on a journey that is not only a tribute to her Trentino roots but also an exploration of a common inner conflict\u2014the oscillation between the rhythms of nature and those of the city.<\/span><br \/><span>After moving to Berlin, the photographer chooses to return to the mountains to capture the lives of people who live and work at high altitudes. This is the premise of her documentary <\/span><i>These Dark Mount<\/i><span>ains, and of the many questions posed by those seeking escape from contemporary society.<\/span><br \/><span>Among the Alpine peaks, Giulia explores the dreams and hopes of those who follow the age-old practice of <\/span><i>alpeggio<\/i><span>\u2014the seasonal movement of livestock\u2014contributing to the maintenance of one of Europe\u2019s most biodiverse and species-rich landscapes. Over the course of two years, she visits various barns and farms to document the solitude and extraordinary labor required to sustain a life lived outdoors: amid steaming dung, starry skies, and direct contact with animals and nature. 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