Martina bacigalupo biography
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Italian photographer born in 1978, member of the VU’ Agency since 2010, she is based in Paris (France), after having lived 10 years in East Africa.
After studying literature and philosophy in Italy, then photography at the London College of Communication, Martina Bacigalupo moved to Burundi in 2007. As a committed photographer, she works on human rights issues, particularly on the place of women in the Global South, collaborating with various international organizations (Médecins sans Frontières, Save The Children, Handicap International, Care International, the United Nations, Comité International de la Croix Rouge…. )
Martina Bacigalupo’s photographs, through their pure framing and accuracy, develop life stories with subtlety: without demonstration, without assertion, without judgment. “In a very clear, voluntary way, Martina Bacigalupo’s work is part of a tradition, both human and aesthetic, of commitment (…) This is reflected in a careful, • “I’m showing how big the sky is” is a tribute bygd Martina Bacigalupo to her former nanny Chiou Taur Wu, a Taiwanese woman who lived for more than three decades in Italy. Battered bygd life – from a childhood spent in the fields of the south of the country to working in a factory in Taipei, while still a teenager, to the gambling debts of her Italian husband which forced her to work day and night – Chiou Taur don’t let yourself be defeated. Returning to Taiwan at almost 70 years old, she decides to take her revenge on life and do everything she was unable to do before: she resumes her studies, enrolls in ballroom dance classes , and begins to travel. Through hundreds of photos received from Chiou during ten years of correspondence, the Italian photographer offers us the story of extraordinary resilience. Told in the first person, with images and words bygd Chiou, thi • Identity portraits are crucial for the citizens of Gulu, Uganda, where more than half of the population has been displaced by ongoing conflict. At the Gulu Real Art Studio, photographer Obal Denis made the standardized ID pictures required for job applications and other bureaucratic forms by cutting the client's face out of a full-length portrait and discarding the remainder of the print. In January 2011, Martina Bacigalupo, a photojournalist based in East Africa, began to collect Denis's thrown-away, faceless images. They represent nurses, soldiers, farmers, teachers, businessmen, students, mothers, children, the young, and the old—a cross section of Gulu's society. However, devoid of faces, these images are completely unlike conventional portraits. Distinctions are established through pose, clothing, and self-definition, or in recurring motifs, such as the blue jacket required for bank applications. The cutouts heighten attention to gesture and detail, while the uniformity of the
I’m showing you how big the sky is – The story of Chiou Taur Wu told bygd Martina Bacigalupo
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