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EDITORIAL
FROM PAPARAZZI MAGAZINE TO CARCARA PHOTO ART

The editorial of the first issue of Paparazzi magazine, in 1995
to 2003, stated that Indians from Xingu region, in Brazil,
were afraid of photographers and photography. They believed
photos took away their souls. To me, the Indians were a little
right: photographers don’t steal souls but reveal souls of
people and things. Some of them, in this moment, could be
classified as divine, like Ansel Adams, Henri Cartier-Bresson,
Sebastiao Salgado, Anna-Lou (Annie) Leibovitz, Steve McCurry,
Richard Avedon, Robert Capa, Helmut Newton, Robert Frank,
Walter Firmo Guimaraes da Silva, Irving Penn, Diane Arbus,
Elliott Erwitt, Alberto Korda, Mario Testino, Arnold Newman,
Josef Koudelka, Pierre Verger, Walker Evans, Sally Mann,
W. Eugene Smith, Vivian Maier, Patrick Demarchelier, Bob
Gruen, Dorothea Lange, James Nachtwey, Martín Chambi,
Evandro Teixeira, Marc Riboud, Brassai, Gregory Crewdson.
Impossible to mention them all. By revealing the soul of
things and people, photographic art relates to time, space and
memory. Paparazzi magazine had a philosophy and a mission:
contributing to make human beings reproduce their memories,
revealing what their sensitivity creates, what they see and
feel, fearlessly, artistically. The publication of that magazine, the
achievement of a nine-year dream, was interrupted. However,
that dream was resumed: this Carcara magazine is kind of
Paparazzi’s child, a child who takes on that purpose. Publicizing
and appreciating photographic art with the same commitment: to
multiply the register of souls of things and people, from concrete
to abstract, using sensibility, the mythical look and the magic
gesture of the photographer’s hand.

CARLO CIRENZA
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