Instagram Story Viewer
View Instagram Stories Anonymously
Nero is honoured to be part of Berlin Transmediale 2026 (@transmediale) through a very special book launch of Violent Images, edited by Eva Leitolf (@leitolf) and Giulia Cordin (@giuliacordin). We will see you in Berlin, Friday 30th of January, from 13:00 to 14:00 at the Kuppelhalle in silent green, Gerichtstraße 35.
Images both reflect and exert violence, and shape how we perceive the world. They may represent violence directly, or their violent potential may be associated with their production, dissemination, or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
Through the lens of various disciplines, Violent Images (NERO, 2025) investigates the politics of visual violence and its potential to provoke, subvert, and transform social, political, and media discourses. The artists and scholars invited to contribute to this image-text publication discuss “The Whiteness of Silicon Valley’s Digital Ecologies” (Stephanie Polsky); “Gender and Violence in News Media and Photography” (Roland Bleiker and Emma Hutchison); transgressive image-making practices (Monica M. Haller), and more. All the contributors critically examine established and emerging visual concepts of violence, suggesting that our engagement with them is inherently political and more pressing than ever. Violent Images is the third volume in the Negotiating Images series, edited by Eva Leitolf and Giulia Cordin. The previous volumes are Shoot & Think (unibz, @unibz_studioimage) and Landscape with(out) Locus (NERO Editions).
The conversation will see the editors, Eva Leitolf and Giulia Cordin, introduce the research behind this volume, as well as the long-term research project Negotiating Images. Focusing on editorial practice as integral to the research process, the editors will read selected excerpts and screen a video presentation.
Violent Images goes to Transmediale Berlin!
📍 Save the date: Friday, 30 January, 12 am
📌 Kuppelhalle, silent green
@nero_editions @foto_forum
Violent Images goes to Transmediale Berlin!
📍 Save the date: Friday, 30 January, 12 am
📌 Kuppelhalle, silent green
@nero_editions @foto_forum
Violent Images goes to Transmediale Berlin!
📍 Save the date: Friday, 30 January, 12 am
📌 Kuppelhalle, silent green
@nero_editions @foto_forum
Violent Images goes to Transmediale Berlin!
📍 Save the date: Friday, 30 January, 12 am
📌 Kuppelhalle, silent green
@nero_editions @foto_forum
Violent Images goes to Transmediale Berlin!
📍 Save the date: Friday, 30 January, 12 am
📌 Kuppelhalle, silent green
@nero_editions @foto_forum
Violent Images goes to Transmediale Berlin!
📍 Save the date: Friday, 30 January, 12 am
📌 Kuppelhalle, silent green
@nero_editions @foto_forum
Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
Violent Images explores the intricate relationship between visual culture and the social and economic conditions that influence and are influenced by it. Through the lens of various disciplines, the book investigates the politics of visual violence and its potential to provoke, subvert, and transform social, political, and media discourses. It illustrates the need for a more critical and engaged approach to visual representation and communication in the context of local and global conflicts and crises.
Texts by
Roland Bleiker and Emma Hutchison (@rolandbleiker), Lisa Bogerts and Maik Fielitz, Lorenzo Gabrielli and Amarela Varela-Huerta, Mark T. Reinhardt, Stephanie Polsky (@stephanie.polsky), Elisa Mailänder.
Visual works by Mushon Zer-Aviv (@mushon), Minne Atairu (@minneatairu), Lorna Simpson (@lornasimpson), Broomberg & Chanarin (@adambroomberg @oliverchanarin), Sammy Baloji, Kiluanji Kia Henda (@kiluanjikiahenda), Marvin Gaye Chatwynd, Max Pinckers (@maxpinckers), Eva Leitolf (@leitolf), Bouchra Khalili, Monica M. Haller (@monicamoseshaller), Laia Abril (@laia_abril), David Shields (@_david_shields), Susan Harbage Page (@susanharbagepage), Jenny Holzer (@jennyholzerstudio), Chiara Cortellini, Mitra Tabrizian, Valie Export and many others.
Violent Images is the third volume in the Negotiating Images series, edited by Eva Leitolf and Giulia Cordin. Published by @nero_editions. The previous volumes are Shoot & Think (unibz) and Landscape with(out) Locus (NERO Editions).
Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
Violent Images explores the intricate relationship between visual culture and the social and economic conditions that influence and are influenced by it. Through the lens of various disciplines, the book investigates the politics of visual violence and its potential to provoke, subvert, and transform social, political, and media discourses. It illustrates the need for a more critical and engaged approach to visual representation and communication in the context of local and global conflicts and crises.
Texts by
Roland Bleiker and Emma Hutchison (@rolandbleiker), Lisa Bogerts and Maik Fielitz, Lorenzo Gabrielli and Amarela Varela-Huerta, Mark T. Reinhardt, Stephanie Polsky (@stephanie.polsky), Elisa Mailänder.
Visual works by Mushon Zer-Aviv (@mushon), Minne Atairu (@minneatairu), Lorna Simpson (@lornasimpson), Broomberg & Chanarin (@adambroomberg @oliverchanarin), Sammy Baloji, Kiluanji Kia Henda (@kiluanjikiahenda), Marvin Gaye Chatwynd, Max Pinckers (@maxpinckers), Eva Leitolf (@leitolf), Bouchra Khalili, Monica M. Haller (@monicamoseshaller), Laia Abril (@laia_abril), David Shields (@_david_shields), Susan Harbage Page (@susanharbagepage), Jenny Holzer (@jennyholzerstudio), Chiara Cortellini, Mitra Tabrizian, Valie Export and many others.
Violent Images is the third volume in the Negotiating Images series, edited by Eva Leitolf and Giulia Cordin. Published by @nero_editions. The previous volumes are Shoot & Think (unibz) and Landscape with(out) Locus (NERO Editions).
Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
Violent Images explores the intricate relationship between visual culture and the social and economic conditions that influence and are influenced by it. Through the lens of various disciplines, the book investigates the politics of visual violence and its potential to provoke, subvert, and transform social, political, and media discourses. It illustrates the need for a more critical and engaged approach to visual representation and communication in the context of local and global conflicts and crises.
Texts by
Roland Bleiker and Emma Hutchison (@rolandbleiker), Lisa Bogerts and Maik Fielitz, Lorenzo Gabrielli and Amarela Varela-Huerta, Mark T. Reinhardt, Stephanie Polsky (@stephanie.polsky), Elisa Mailänder.
Visual works by Mushon Zer-Aviv (@mushon), Minne Atairu (@minneatairu), Lorna Simpson (@lornasimpson), Broomberg & Chanarin (@adambroomberg @oliverchanarin), Sammy Baloji, Kiluanji Kia Henda (@kiluanjikiahenda), Marvin Gaye Chatwynd, Max Pinckers (@maxpinckers), Eva Leitolf (@leitolf), Bouchra Khalili, Monica M. Haller (@monicamoseshaller), Laia Abril (@laia_abril), David Shields (@_david_shields), Susan Harbage Page (@susanharbagepage), Jenny Holzer (@jennyholzerstudio), Chiara Cortellini, Mitra Tabrizian, Valie Export and many others.
Violent Images is the third volume in the Negotiating Images series, edited by Eva Leitolf and Giulia Cordin. Published by @nero_editions. The previous volumes are Shoot & Think (unibz) and Landscape with(out) Locus (NERO Editions).
Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
Violent Images explores the intricate relationship between visual culture and the social and economic conditions that influence and are influenced by it. Through the lens of various disciplines, the book investigates the politics of visual violence and its potential to provoke, subvert, and transform social, political, and media discourses. It illustrates the need for a more critical and engaged approach to visual representation and communication in the context of local and global conflicts and crises.
Texts by
Roland Bleiker and Emma Hutchison (@rolandbleiker), Lisa Bogerts and Maik Fielitz, Lorenzo Gabrielli and Amarela Varela-Huerta, Mark T. Reinhardt, Stephanie Polsky (@stephanie.polsky), Elisa Mailänder.
Visual works by Mushon Zer-Aviv (@mushon), Minne Atairu (@minneatairu), Lorna Simpson (@lornasimpson), Broomberg & Chanarin (@adambroomberg @oliverchanarin), Sammy Baloji, Kiluanji Kia Henda (@kiluanjikiahenda), Marvin Gaye Chatwynd, Max Pinckers (@maxpinckers), Eva Leitolf (@leitolf), Bouchra Khalili, Monica M. Haller (@monicamoseshaller), Laia Abril (@laia_abril), David Shields (@_david_shields), Susan Harbage Page (@susanharbagepage), Jenny Holzer (@jennyholzerstudio), Chiara Cortellini, Mitra Tabrizian, Valie Export and many others.
Violent Images is the third volume in the Negotiating Images series, edited by Eva Leitolf and Giulia Cordin. Published by @nero_editions. The previous volumes are Shoot & Think (unibz) and Landscape with(out) Locus (NERO Editions).
➡ INSTALLATION VIEW
Violent Images – Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi
Book launch: 28.10.25, 6 p.m.
Curated by Eva Leitolf and Giulia Cordin
In collaboration with unibz, Studio Image, A/POLITICAL, BAW, Nero Editions
🗓 Exhibition: 7.10.–8.11.2025
📍 Foto Forum - Weggensteinstr. 3F, BZ
The exhibition "Violent Images" examines pressing aspects and implications of the visual representation of violence. Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition "Violent Images" explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as a counter-image—intentionally leaving productive gaps in visual narratives. They interrupt the often assumed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking. All the contributors critically examine both established and emerging visual concepts of violence, suggesting that our engagement with them is inherently political and more pressing than ever.
In collaboration with @nero_editions @unibz @unibz_studioimage @apoliticalorg @baw_bolzanoartweeks
Photo: @fanni.fazekas.photography
Made possible by @provincia.bolzano
@comunegemeindebz
Special thanks to our winery partner @kellereibozen 🥂
for supporting the exhibition with their exquisite wines
#contemporaryart #exhibition #bozen #bolzano #bolzanoevents #bolzanoart #artlover_bolzano #bolzanoartweeks #baw25
➡ INSTALLATION VIEW
Violent Images – Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi
Book launch: 28.10.25, 6 p.m.
Curated by Eva Leitolf and Giulia Cordin
In collaboration with unibz, Studio Image, A/POLITICAL, BAW, Nero Editions
🗓 Exhibition: 7.10.–8.11.2025
📍 Foto Forum - Weggensteinstr. 3F, BZ
The exhibition "Violent Images" examines pressing aspects and implications of the visual representation of violence. Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition "Violent Images" explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as a counter-image—intentionally leaving productive gaps in visual narratives. They interrupt the often assumed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking. All the contributors critically examine both established and emerging visual concepts of violence, suggesting that our engagement with them is inherently political and more pressing than ever.
In collaboration with @nero_editions @unibz @unibz_studioimage @apoliticalorg @baw_bolzanoartweeks
Photo: @fanni.fazekas.photography
Made possible by @provincia.bolzano
@comunegemeindebz
Special thanks to our winery partner @kellereibozen 🥂
for supporting the exhibition with their exquisite wines
#contemporaryart #exhibition #bozen #bolzano #bolzanoevents #bolzanoart #artlover_bolzano #bolzanoartweeks #baw25
➡ INSTALLATION VIEW
Violent Images – Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi
Book launch: 28.10.25, 6 p.m.
Curated by Eva Leitolf and Giulia Cordin
In collaboration with unibz, Studio Image, A/POLITICAL, BAW, Nero Editions
🗓 Exhibition: 7.10.–8.11.2025
📍 Foto Forum - Weggensteinstr. 3F, BZ
The exhibition "Violent Images" examines pressing aspects and implications of the visual representation of violence. Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition "Violent Images" explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as a counter-image—intentionally leaving productive gaps in visual narratives. They interrupt the often assumed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking. All the contributors critically examine both established and emerging visual concepts of violence, suggesting that our engagement with them is inherently political and more pressing than ever.
In collaboration with @nero_editions @unibz @unibz_studioimage @apoliticalorg @baw_bolzanoartweeks
Photo: @fanni.fazekas.photography
Made possible by @provincia.bolzano
@comunegemeindebz
Special thanks to our winery partner @kellereibozen 🥂
for supporting the exhibition with their exquisite wines
#contemporaryart #exhibition #bozen #bolzano #bolzanoevents #bolzanoart #artlover_bolzano #bolzanoartweeks #baw25
➡ INSTALLATION VIEW
Violent Images – Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi
Book launch: 28.10.25, 6 p.m.
Curated by Eva Leitolf and Giulia Cordin
In collaboration with unibz, Studio Image, A/POLITICAL, BAW, Nero Editions
🗓 Exhibition: 7.10.–8.11.2025
📍 Foto Forum - Weggensteinstr. 3F, BZ
The exhibition "Violent Images" examines pressing aspects and implications of the visual representation of violence. Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition "Violent Images" explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as a counter-image—intentionally leaving productive gaps in visual narratives. They interrupt the often assumed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking. All the contributors critically examine both established and emerging visual concepts of violence, suggesting that our engagement with them is inherently political and more pressing than ever.
In collaboration with @nero_editions @unibz @unibz_studioimage @apoliticalorg @baw_bolzanoartweeks
Photo: @fanni.fazekas.photography
Made possible by @provincia.bolzano
@comunegemeindebz
Special thanks to our winery partner @kellereibozen 🥂
for supporting the exhibition with their exquisite wines
#contemporaryart #exhibition #bozen #bolzano #bolzanoevents #bolzanoart #artlover_bolzano #bolzanoartweeks #baw25
➡ INSTALLATION VIEW
Violent Images – Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi
Book launch: 28.10.25, 6 p.m.
Curated by Eva Leitolf and Giulia Cordin
In collaboration with unibz, Studio Image, A/POLITICAL, BAW, Nero Editions
🗓 Exhibition: 7.10.–8.11.2025
📍 Foto Forum - Weggensteinstr. 3F, BZ
The exhibition "Violent Images" examines pressing aspects and implications of the visual representation of violence. Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition "Violent Images" explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as a counter-image—intentionally leaving productive gaps in visual narratives. They interrupt the often assumed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking. All the contributors critically examine both established and emerging visual concepts of violence, suggesting that our engagement with them is inherently political and more pressing than ever.
In collaboration with @nero_editions @unibz @unibz_studioimage @apoliticalorg @baw_bolzanoartweeks
Photo: @fanni.fazekas.photography
Made possible by @provincia.bolzano
@comunegemeindebz
Special thanks to our winery partner @kellereibozen 🥂
for supporting the exhibition with their exquisite wines
#contemporaryart #exhibition #bozen #bolzano #bolzanoevents #bolzanoart #artlover_bolzano #bolzanoartweeks #baw25
➡ INSTALLATION VIEW
Violent Images – Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi
Book launch: 28.10.25, 6 p.m.
Curated by Eva Leitolf and Giulia Cordin
In collaboration with unibz, Studio Image, A/POLITICAL, BAW, Nero Editions
🗓 Exhibition: 7.10.–8.11.2025
📍 Foto Forum - Weggensteinstr. 3F, BZ
The exhibition "Violent Images" examines pressing aspects and implications of the visual representation of violence. Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition "Violent Images" explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as a counter-image—intentionally leaving productive gaps in visual narratives. They interrupt the often assumed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking. All the contributors critically examine both established and emerging visual concepts of violence, suggesting that our engagement with them is inherently political and more pressing than ever.
In collaboration with @nero_editions @unibz @unibz_studioimage @apoliticalorg @baw_bolzanoartweeks
Photo: @fanni.fazekas.photography
Made possible by @provincia.bolzano
@comunegemeindebz
Special thanks to our winery partner @kellereibozen 🥂
for supporting the exhibition with their exquisite wines
#contemporaryart #exhibition #bozen #bolzano #bolzanoevents #bolzanoart #artlover_bolzano #bolzanoartweeks #baw25
➡ INSTALLATION VIEW
Violent Images – Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi
Book launch: 28.10.25, 6 p.m.
Curated by Eva Leitolf and Giulia Cordin
In collaboration with unibz, Studio Image, A/POLITICAL, BAW, Nero Editions
🗓 Exhibition: 7.10.–8.11.2025
📍 Foto Forum - Weggensteinstr. 3F, BZ
The exhibition "Violent Images" examines pressing aspects and implications of the visual representation of violence. Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition "Violent Images" explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as a counter-image—intentionally leaving productive gaps in visual narratives. They interrupt the often assumed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking. All the contributors critically examine both established and emerging visual concepts of violence, suggesting that our engagement with them is inherently political and more pressing than ever.
In collaboration with @nero_editions @unibz @unibz_studioimage @apoliticalorg @baw_bolzanoartweeks
Photo: @fanni.fazekas.photography
Made possible by @provincia.bolzano
@comunegemeindebz
Special thanks to our winery partner @kellereibozen 🥂
for supporting the exhibition with their exquisite wines
#contemporaryart #exhibition #bozen #bolzano #bolzanoevents #bolzanoart #artlover_bolzano #bolzanoartweeks #baw25
➡ INSTALLATION VIEW
Violent Images – Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi
Book launch: 28.10.25, 6 p.m.
Curated by Eva Leitolf and Giulia Cordin
In collaboration with unibz, Studio Image, A/POLITICAL, BAW, Nero Editions
🗓 Exhibition: 7.10.–8.11.2025
📍 Foto Forum - Weggensteinstr. 3F, BZ
The exhibition "Violent Images" examines pressing aspects and implications of the visual representation of violence. Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition "Violent Images" explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as a counter-image—intentionally leaving productive gaps in visual narratives. They interrupt the often assumed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking. All the contributors critically examine both established and emerging visual concepts of violence, suggesting that our engagement with them is inherently political and more pressing than ever.
In collaboration with @nero_editions @unibz @unibz_studioimage @apoliticalorg @baw_bolzanoartweeks
Photo: @fanni.fazekas.photography
Made possible by @provincia.bolzano
@comunegemeindebz
Special thanks to our winery partner @kellereibozen 🥂
for supporting the exhibition with their exquisite wines
#contemporaryart #exhibition #bozen #bolzano #bolzanoevents #bolzanoart #artlover_bolzano #bolzanoartweeks #baw25
➡ INSTALLATION VIEW
Violent Images – Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi
Book launch: 28.10.25, 6 p.m.
Curated by Eva Leitolf and Giulia Cordin
In collaboration with unibz, Studio Image, A/POLITICAL, BAW, Nero Editions
🗓 Exhibition: 7.10.–8.11.2025
📍 Foto Forum - Weggensteinstr. 3F, BZ
The exhibition "Violent Images" examines pressing aspects and implications of the visual representation of violence. Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition "Violent Images" explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as a counter-image—intentionally leaving productive gaps in visual narratives. They interrupt the often assumed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking. All the contributors critically examine both established and emerging visual concepts of violence, suggesting that our engagement with them is inherently political and more pressing than ever.
In collaboration with @nero_editions @unibz @unibz_studioimage @apoliticalorg @baw_bolzanoartweeks
Photo: @fanni.fazekas.photography
Made possible by @provincia.bolzano
@comunegemeindebz
Special thanks to our winery partner @kellereibozen 🥂
for supporting the exhibition with their exquisite wines
#contemporaryart #exhibition #bozen #bolzano #bolzanoevents #bolzanoart #artlover_bolzano #bolzanoartweeks #baw25
➡ INSTALLATION VIEW
Violent Images – Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi
Book launch: 28.10.25, 6 p.m.
Curated by Eva Leitolf and Giulia Cordin
In collaboration with unibz, Studio Image, A/POLITICAL, BAW, Nero Editions
🗓 Exhibition: 7.10.–8.11.2025
📍 Foto Forum - Weggensteinstr. 3F, BZ
The exhibition "Violent Images" examines pressing aspects and implications of the visual representation of violence. Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition "Violent Images" explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as a counter-image—intentionally leaving productive gaps in visual narratives. They interrupt the often assumed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking. All the contributors critically examine both established and emerging visual concepts of violence, suggesting that our engagement with them is inherently political and more pressing than ever.
In collaboration with @nero_editions @unibz @unibz_studioimage @apoliticalorg @baw_bolzanoartweeks
Photo: @fanni.fazekas.photography
Made possible by @provincia.bolzano
@comunegemeindebz
Special thanks to our winery partner @kellereibozen 🥂
for supporting the exhibition with their exquisite wines
#contemporaryart #exhibition #bozen #bolzano #bolzanoevents #bolzanoart #artlover_bolzano #bolzanoartweeks #baw25
Another piece I wrote for Il Giornale dell’Arte @ilgiornaledellarte, this time delving into the mechanisms of transmission and reproduction of violent images, as well as on the more or less subtle influence they have on our perception of the world. It was commissioned on the occasion of the new group show “Violent Images — Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi”, which opened at @foto_forum on October 4 (through November 8), and you can read it in its (automated) English translation here 📍 Thanks to @giuliacordin and @leitolf, who curated the exhibition, for all the insights. Here’s how it begins (in Italian):
Che cosa è peggiore? Una scena di guerra che documenta fedelmente le conseguenze distruttive di un conflitto sulla popolazione che le soffre, o un’immagine che, pur apparendo verosimile, sebbene bizzarra (un capo di stato che improvvisa un balletto in una seduta parlamentare plenaria; il Presidente degli Stati Uniti nei panni di papa Francesco ritratto su un trono di velluto rosso e foglia d’oro a pochi giorni dalla sua scomparsa; una giovane attrice che rispecchia pienamente i canoni della bellezza caucasica odierna, le cui performance competono con quelle di attori in carne e ossa, pur esistendo unicamente nel suo stato immateriale), è invece un prodotto dell’IA? Quale di queste scene è più violenta, se per violenta intendiamo la loro capacità non solo di scioccarci, o sorprenderci, nell’immediato, ma soprattutto di restare presenti nel nostro inconscio, contribuendo così a influenzare la nostra visione del mondo?
With @adambroomberg @oliverchanarin #violasilvi #sophiarabbiosi #letizianicoliniphotography @leitolf
Another piece I wrote for Il Giornale dell’Arte @ilgiornaledellarte, this time delving into the mechanisms of transmission and reproduction of violent images, as well as on the more or less subtle influence they have on our perception of the world. It was commissioned on the occasion of the new group show “Violent Images — Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi”, which opened at @foto_forum on October 4 (through November 8), and you can read it in its (automated) English translation here 📍 Thanks to @giuliacordin and @leitolf, who curated the exhibition, for all the insights. Here’s how it begins (in Italian):
Che cosa è peggiore? Una scena di guerra che documenta fedelmente le conseguenze distruttive di un conflitto sulla popolazione che le soffre, o un’immagine che, pur apparendo verosimile, sebbene bizzarra (un capo di stato che improvvisa un balletto in una seduta parlamentare plenaria; il Presidente degli Stati Uniti nei panni di papa Francesco ritratto su un trono di velluto rosso e foglia d’oro a pochi giorni dalla sua scomparsa; una giovane attrice che rispecchia pienamente i canoni della bellezza caucasica odierna, le cui performance competono con quelle di attori in carne e ossa, pur esistendo unicamente nel suo stato immateriale), è invece un prodotto dell’IA? Quale di queste scene è più violenta, se per violenta intendiamo la loro capacità non solo di scioccarci, o sorprenderci, nell’immediato, ma soprattutto di restare presenti nel nostro inconscio, contribuendo così a influenzare la nostra visione del mondo?
With @adambroomberg @oliverchanarin #violasilvi #sophiarabbiosi #letizianicoliniphotography @leitolf
Another piece I wrote for Il Giornale dell’Arte @ilgiornaledellarte, this time delving into the mechanisms of transmission and reproduction of violent images, as well as on the more or less subtle influence they have on our perception of the world. It was commissioned on the occasion of the new group show “Violent Images — Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi”, which opened at @foto_forum on October 4 (through November 8), and you can read it in its (automated) English translation here 📍 Thanks to @giuliacordin and @leitolf, who curated the exhibition, for all the insights. Here’s how it begins (in Italian):
Che cosa è peggiore? Una scena di guerra che documenta fedelmente le conseguenze distruttive di un conflitto sulla popolazione che le soffre, o un’immagine che, pur apparendo verosimile, sebbene bizzarra (un capo di stato che improvvisa un balletto in una seduta parlamentare plenaria; il Presidente degli Stati Uniti nei panni di papa Francesco ritratto su un trono di velluto rosso e foglia d’oro a pochi giorni dalla sua scomparsa; una giovane attrice che rispecchia pienamente i canoni della bellezza caucasica odierna, le cui performance competono con quelle di attori in carne e ossa, pur esistendo unicamente nel suo stato immateriale), è invece un prodotto dell’IA? Quale di queste scene è più violenta, se per violenta intendiamo la loro capacità non solo di scioccarci, o sorprenderci, nell’immediato, ma soprattutto di restare presenti nel nostro inconscio, contribuendo così a influenzare la nostra visione del mondo?
With @adambroomberg @oliverchanarin #violasilvi #sophiarabbiosi #letizianicoliniphotography @leitolf
Another piece I wrote for Il Giornale dell’Arte @ilgiornaledellarte, this time delving into the mechanisms of transmission and reproduction of violent images, as well as on the more or less subtle influence they have on our perception of the world. It was commissioned on the occasion of the new group show “Violent Images — Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi”, which opened at @foto_forum on October 4 (through November 8), and you can read it in its (automated) English translation here 📍 Thanks to @giuliacordin and @leitolf, who curated the exhibition, for all the insights. Here’s how it begins (in Italian):
Che cosa è peggiore? Una scena di guerra che documenta fedelmente le conseguenze distruttive di un conflitto sulla popolazione che le soffre, o un’immagine che, pur apparendo verosimile, sebbene bizzarra (un capo di stato che improvvisa un balletto in una seduta parlamentare plenaria; il Presidente degli Stati Uniti nei panni di papa Francesco ritratto su un trono di velluto rosso e foglia d’oro a pochi giorni dalla sua scomparsa; una giovane attrice che rispecchia pienamente i canoni della bellezza caucasica odierna, le cui performance competono con quelle di attori in carne e ossa, pur esistendo unicamente nel suo stato immateriale), è invece un prodotto dell’IA? Quale di queste scene è più violenta, se per violenta intendiamo la loro capacità non solo di scioccarci, o sorprenderci, nell’immediato, ma soprattutto di restare presenti nel nostro inconscio, contribuendo così a influenzare la nostra visione del mondo?
With @adambroomberg @oliverchanarin #violasilvi #sophiarabbiosi #letizianicoliniphotography @leitolf
Another piece I wrote for Il Giornale dell’Arte @ilgiornaledellarte, this time delving into the mechanisms of transmission and reproduction of violent images, as well as on the more or less subtle influence they have on our perception of the world. It was commissioned on the occasion of the new group show “Violent Images — Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi”, which opened at @foto_forum on October 4 (through November 8), and you can read it in its (automated) English translation here 📍 Thanks to @giuliacordin and @leitolf, who curated the exhibition, for all the insights. Here’s how it begins (in Italian):
Che cosa è peggiore? Una scena di guerra che documenta fedelmente le conseguenze distruttive di un conflitto sulla popolazione che le soffre, o un’immagine che, pur apparendo verosimile, sebbene bizzarra (un capo di stato che improvvisa un balletto in una seduta parlamentare plenaria; il Presidente degli Stati Uniti nei panni di papa Francesco ritratto su un trono di velluto rosso e foglia d’oro a pochi giorni dalla sua scomparsa; una giovane attrice che rispecchia pienamente i canoni della bellezza caucasica odierna, le cui performance competono con quelle di attori in carne e ossa, pur esistendo unicamente nel suo stato immateriale), è invece un prodotto dell’IA? Quale di queste scene è più violenta, se per violenta intendiamo la loro capacità non solo di scioccarci, o sorprenderci, nell’immediato, ma soprattutto di restare presenti nel nostro inconscio, contribuendo così a influenzare la nostra visione del mondo?
With @adambroomberg @oliverchanarin #violasilvi #sophiarabbiosi #letizianicoliniphotography @leitolf
Another piece I wrote for Il Giornale dell’Arte @ilgiornaledellarte, this time delving into the mechanisms of transmission and reproduction of violent images, as well as on the more or less subtle influence they have on our perception of the world. It was commissioned on the occasion of the new group show “Violent Images — Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi”, which opened at @foto_forum on October 4 (through November 8), and you can read it in its (automated) English translation here 📍 Thanks to @giuliacordin and @leitolf, who curated the exhibition, for all the insights. Here’s how it begins (in Italian):
Che cosa è peggiore? Una scena di guerra che documenta fedelmente le conseguenze distruttive di un conflitto sulla popolazione che le soffre, o un’immagine che, pur apparendo verosimile, sebbene bizzarra (un capo di stato che improvvisa un balletto in una seduta parlamentare plenaria; il Presidente degli Stati Uniti nei panni di papa Francesco ritratto su un trono di velluto rosso e foglia d’oro a pochi giorni dalla sua scomparsa; una giovane attrice che rispecchia pienamente i canoni della bellezza caucasica odierna, le cui performance competono con quelle di attori in carne e ossa, pur esistendo unicamente nel suo stato immateriale), è invece un prodotto dell’IA? Quale di queste scene è più violenta, se per violenta intendiamo la loro capacità non solo di scioccarci, o sorprenderci, nell’immediato, ma soprattutto di restare presenti nel nostro inconscio, contribuendo così a influenzare la nostra visione del mondo?
With @adambroomberg @oliverchanarin #violasilvi #sophiarabbiosi #letizianicoliniphotography @leitolf
Another piece I wrote for Il Giornale dell’Arte @ilgiornaledellarte, this time delving into the mechanisms of transmission and reproduction of violent images, as well as on the more or less subtle influence they have on our perception of the world. It was commissioned on the occasion of the new group show “Violent Images — Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi”, which opened at @foto_forum on October 4 (through November 8), and you can read it in its (automated) English translation here 📍 Thanks to @giuliacordin and @leitolf, who curated the exhibition, for all the insights. Here’s how it begins (in Italian):
Che cosa è peggiore? Una scena di guerra che documenta fedelmente le conseguenze distruttive di un conflitto sulla popolazione che le soffre, o un’immagine che, pur apparendo verosimile, sebbene bizzarra (un capo di stato che improvvisa un balletto in una seduta parlamentare plenaria; il Presidente degli Stati Uniti nei panni di papa Francesco ritratto su un trono di velluto rosso e foglia d’oro a pochi giorni dalla sua scomparsa; una giovane attrice che rispecchia pienamente i canoni della bellezza caucasica odierna, le cui performance competono con quelle di attori in carne e ossa, pur esistendo unicamente nel suo stato immateriale), è invece un prodotto dell’IA? Quale di queste scene è più violenta, se per violenta intendiamo la loro capacità non solo di scioccarci, o sorprenderci, nell’immediato, ma soprattutto di restare presenti nel nostro inconscio, contribuendo così a influenzare la nostra visione del mondo?
With @adambroomberg @oliverchanarin #violasilvi #sophiarabbiosi #letizianicoliniphotography @leitolf
Another piece I wrote for Il Giornale dell’Arte @ilgiornaledellarte, this time delving into the mechanisms of transmission and reproduction of violent images, as well as on the more or less subtle influence they have on our perception of the world. It was commissioned on the occasion of the new group show “Violent Images — Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi”, which opened at @foto_forum on October 4 (through November 8), and you can read it in its (automated) English translation here 📍 Thanks to @giuliacordin and @leitolf, who curated the exhibition, for all the insights. Here’s how it begins (in Italian):
Che cosa è peggiore? Una scena di guerra che documenta fedelmente le conseguenze distruttive di un conflitto sulla popolazione che le soffre, o un’immagine che, pur apparendo verosimile, sebbene bizzarra (un capo di stato che improvvisa un balletto in una seduta parlamentare plenaria; il Presidente degli Stati Uniti nei panni di papa Francesco ritratto su un trono di velluto rosso e foglia d’oro a pochi giorni dalla sua scomparsa; una giovane attrice che rispecchia pienamente i canoni della bellezza caucasica odierna, le cui performance competono con quelle di attori in carne e ossa, pur esistendo unicamente nel suo stato immateriale), è invece un prodotto dell’IA? Quale di queste scene è più violenta, se per violenta intendiamo la loro capacità non solo di scioccarci, o sorprenderci, nell’immediato, ma soprattutto di restare presenti nel nostro inconscio, contribuendo così a influenzare la nostra visione del mondo?
With @adambroomberg @oliverchanarin #violasilvi #sophiarabbiosi #letizianicoliniphotography @leitolf
Another piece I wrote for Il Giornale dell’Arte @ilgiornaledellarte, this time delving into the mechanisms of transmission and reproduction of violent images, as well as on the more or less subtle influence they have on our perception of the world. It was commissioned on the occasion of the new group show “Violent Images — Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi”, which opened at @foto_forum on October 4 (through November 8), and you can read it in its (automated) English translation here 📍 Thanks to @giuliacordin and @leitolf, who curated the exhibition, for all the insights. Here’s how it begins (in Italian):
Che cosa è peggiore? Una scena di guerra che documenta fedelmente le conseguenze distruttive di un conflitto sulla popolazione che le soffre, o un’immagine che, pur apparendo verosimile, sebbene bizzarra (un capo di stato che improvvisa un balletto in una seduta parlamentare plenaria; il Presidente degli Stati Uniti nei panni di papa Francesco ritratto su un trono di velluto rosso e foglia d’oro a pochi giorni dalla sua scomparsa; una giovane attrice che rispecchia pienamente i canoni della bellezza caucasica odierna, le cui performance competono con quelle di attori in carne e ossa, pur esistendo unicamente nel suo stato immateriale), è invece un prodotto dell’IA? Quale di queste scene è più violenta, se per violenta intendiamo la loro capacità non solo di scioccarci, o sorprenderci, nell’immediato, ma soprattutto di restare presenti nel nostro inconscio, contribuendo così a influenzare la nostra visione del mondo?
With @adambroomberg @oliverchanarin #violasilvi #sophiarabbiosi #letizianicoliniphotography @leitolf
Another piece I wrote for Il Giornale dell’Arte @ilgiornaledellarte, this time delving into the mechanisms of transmission and reproduction of violent images, as well as on the more or less subtle influence they have on our perception of the world. It was commissioned on the occasion of the new group show “Violent Images — Broomberg & Chanarin, Eva Leitolf, Letizia Nicolini, Sophia Rabbiosi, Viola Silvi”, which opened at @foto_forum on October 4 (through November 8), and you can read it in its (automated) English translation here 📍 Thanks to @giuliacordin and @leitolf, who curated the exhibition, for all the insights. Here’s how it begins (in Italian):
Che cosa è peggiore? Una scena di guerra che documenta fedelmente le conseguenze distruttive di un conflitto sulla popolazione che le soffre, o un’immagine che, pur apparendo verosimile, sebbene bizzarra (un capo di stato che improvvisa un balletto in una seduta parlamentare plenaria; il Presidente degli Stati Uniti nei panni di papa Francesco ritratto su un trono di velluto rosso e foglia d’oro a pochi giorni dalla sua scomparsa; una giovane attrice che rispecchia pienamente i canoni della bellezza caucasica odierna, le cui performance competono con quelle di attori in carne e ossa, pur esistendo unicamente nel suo stato immateriale), è invece un prodotto dell’IA? Quale di queste scene è più violenta, se per violenta intendiamo la loro capacità non solo di scioccarci, o sorprenderci, nell’immediato, ma soprattutto di restare presenti nel nostro inconscio, contribuendo così a influenzare la nostra visione del mondo?
With @adambroomberg @oliverchanarin #violasilvi #sophiarabbiosi #letizianicoliniphotography @leitolf
In the past few weeks, we printed our new book “Violent Images", published by @nero_editions. It’s been, as always, an exciting and beautiful ride, and we can’t wait to present it very soon!
Soooo — SAVE THE DATE: 28 October, 6 PM! Book Launch at @foto_forum!
We’ll also be doing a guided tour of the exhibition at 5 PM .
We hope to see many of you there!
In the past few weeks, we printed our new book “Violent Images", published by @nero_editions. It’s been, as always, an exciting and beautiful ride, and we can’t wait to present it very soon!
Soooo — SAVE THE DATE: 28 October, 6 PM! Book Launch at @foto_forum!
We’ll also be doing a guided tour of the exhibition at 5 PM .
We hope to see many of you there!
In the past few weeks, we printed our new book “Violent Images", published by @nero_editions. It’s been, as always, an exciting and beautiful ride, and we can’t wait to present it very soon!
Soooo — SAVE THE DATE: 28 October, 6 PM! Book Launch at @foto_forum!
We’ll also be doing a guided tour of the exhibition at 5 PM .
We hope to see many of you there!
In the past few weeks, we printed our new book “Violent Images", published by @nero_editions. It’s been, as always, an exciting and beautiful ride, and we can’t wait to present it very soon!
Soooo — SAVE THE DATE: 28 October, 6 PM! Book Launch at @foto_forum!
We’ll also be doing a guided tour of the exhibition at 5 PM .
We hope to see many of you there!
In the past few weeks, we printed our new book “Violent Images", published by @nero_editions. It’s been, as always, an exciting and beautiful ride, and we can’t wait to present it very soon!
Soooo — SAVE THE DATE: 28 October, 6 PM! Book Launch at @foto_forum!
We’ll also be doing a guided tour of the exhibition at 5 PM .
We hope to see many of you there!
In the past few weeks, we printed our new book “Violent Images", published by @nero_editions. It’s been, as always, an exciting and beautiful ride, and we can’t wait to present it very soon!
Soooo — SAVE THE DATE: 28 October, 6 PM! Book Launch at @foto_forum!
We’ll also be doing a guided tour of the exhibition at 5 PM .
We hope to see many of you there!
In the past few weeks, we printed our new book “Violent Images", published by @nero_editions. It’s been, as always, an exciting and beautiful ride, and we can’t wait to present it very soon!
Soooo — SAVE THE DATE: 28 October, 6 PM! Book Launch at @foto_forum!
We’ll also be doing a guided tour of the exhibition at 5 PM .
We hope to see many of you there!
In the past few weeks, we printed our new book “Violent Images", published by @nero_editions. It’s been, as always, an exciting and beautiful ride, and we can’t wait to present it very soon!
Soooo — SAVE THE DATE: 28 October, 6 PM! Book Launch at @foto_forum!
We’ll also be doing a guided tour of the exhibition at 5 PM .
We hope to see many of you there!
In the past few weeks, we printed our new book “Violent Images", published by @nero_editions. It’s been, as always, an exciting and beautiful ride, and we can’t wait to present it very soon!
Soooo — SAVE THE DATE: 28 October, 6 PM! Book Launch at @foto_forum!
We’ll also be doing a guided tour of the exhibition at 5 PM .
We hope to see many of you there!
Studio Image meets Foto Forum
Violent Images
6.10. - 8.11.2025
@foto_forum
Curated by Giulia Cordin and Eva Leitolf
The exhibition Violent Images examines pressing aspects and implications of the visual representation of violence and coincides with the publication of the book Violent Images: Negotiating Images 03 (Nero Editions, 2025).
Images both reflect and exert violence: AI pictures are generated in the journalistic style of a war photographer in Gaza; snapshots from the Abu Ghraib prisoner camp become a meme shared round the world; surveillance expands with automated image production, analysis and evaluation; sexist images still permeate advertising and the entertainment sector.
Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition Violent Images explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as counter-images—intentionally leaving productive gaps in visual narratives. They interrupt the supposed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking.
With works by Letizia Nicolini, Sophia Rabbiosi and Viola Silvi.
Featuring Broomberg & Chanarin and Eva Leitolf.
@liiquiirizia @discotopo @violante.exe
@adambroomberg @leitolf @giuliacordin
@unibz_designxart
Photo credits @fanni.fazekas.photography @baw_bolzanoartweeks
Studio Image meets Foto Forum
Violent Images
6.10. - 8.11.2025
@foto_forum
Curated by Giulia Cordin and Eva Leitolf
The exhibition Violent Images examines pressing aspects and implications of the visual representation of violence and coincides with the publication of the book Violent Images: Negotiating Images 03 (Nero Editions, 2025).
Images both reflect and exert violence: AI pictures are generated in the journalistic style of a war photographer in Gaza; snapshots from the Abu Ghraib prisoner camp become a meme shared round the world; surveillance expands with automated image production, analysis and evaluation; sexist images still permeate advertising and the entertainment sector.
Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition Violent Images explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as counter-images—intentionally leaving productive gaps in visual narratives. They interrupt the supposed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking.
With works by Letizia Nicolini, Sophia Rabbiosi and Viola Silvi.
Featuring Broomberg & Chanarin and Eva Leitolf.
@liiquiirizia @discotopo @violante.exe
@adambroomberg @leitolf @giuliacordin
@unibz_designxart
Photo credits @fanni.fazekas.photography @baw_bolzanoartweeks
Studio Image meets Foto Forum
Violent Images
6.10. - 8.11.2025
@foto_forum
Curated by Giulia Cordin and Eva Leitolf
The exhibition Violent Images examines pressing aspects and implications of the visual representation of violence and coincides with the publication of the book Violent Images: Negotiating Images 03 (Nero Editions, 2025).
Images both reflect and exert violence: AI pictures are generated in the journalistic style of a war photographer in Gaza; snapshots from the Abu Ghraib prisoner camp become a meme shared round the world; surveillance expands with automated image production, analysis and evaluation; sexist images still permeate advertising and the entertainment sector.
Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition Violent Images explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as counter-images—intentionally leaving productive gaps in visual narratives. They interrupt the supposed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking.
With works by Letizia Nicolini, Sophia Rabbiosi and Viola Silvi.
Featuring Broomberg & Chanarin and Eva Leitolf.
@liiquiirizia @discotopo @violante.exe
@adambroomberg @leitolf @giuliacordin
@unibz_designxart
Photo credits @fanni.fazekas.photography @baw_bolzanoartweeks
Studio Image meets Foto Forum
Violent Images
6.10. - 8.11.2025
@foto_forum
Curated by Giulia Cordin and Eva Leitolf
The exhibition Violent Images examines pressing aspects and implications of the visual representation of violence and coincides with the publication of the book Violent Images: Negotiating Images 03 (Nero Editions, 2025).
Images both reflect and exert violence: AI pictures are generated in the journalistic style of a war photographer in Gaza; snapshots from the Abu Ghraib prisoner camp become a meme shared round the world; surveillance expands with automated image production, analysis and evaluation; sexist images still permeate advertising and the entertainment sector.
Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition Violent Images explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as counter-images—intentionally leaving productive gaps in visual narratives. They interrupt the supposed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking.
With works by Letizia Nicolini, Sophia Rabbiosi and Viola Silvi.
Featuring Broomberg & Chanarin and Eva Leitolf.
@liiquiirizia @discotopo @violante.exe
@adambroomberg @leitolf @giuliacordin
@unibz_designxart
Photo credits @fanni.fazekas.photography @baw_bolzanoartweeks
Studio Image meets Foto Forum
Violent Images
6.10. - 8.11.2025
@foto_forum
Curated by Giulia Cordin and Eva Leitolf
The exhibition Violent Images examines pressing aspects and implications of the visual representation of violence and coincides with the publication of the book Violent Images: Negotiating Images 03 (Nero Editions, 2025).
Images both reflect and exert violence: AI pictures are generated in the journalistic style of a war photographer in Gaza; snapshots from the Abu Ghraib prisoner camp become a meme shared round the world; surveillance expands with automated image production, analysis and evaluation; sexist images still permeate advertising and the entertainment sector.
Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition Violent Images explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as counter-images—intentionally leaving productive gaps in visual narratives. They interrupt the supposed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking.
With works by Letizia Nicolini, Sophia Rabbiosi and Viola Silvi.
Featuring Broomberg & Chanarin and Eva Leitolf.
@liiquiirizia @discotopo @violante.exe
@adambroomberg @leitolf @giuliacordin
@unibz_designxart
Photo credits @fanni.fazekas.photography @baw_bolzanoartweeks
Studio Image meets Foto Forum
Violent Images
6.10. - 8.11.2025
@foto_forum
Curated by Giulia Cordin and Eva Leitolf
The exhibition Violent Images examines pressing aspects and implications of the visual representation of violence and coincides with the publication of the book Violent Images: Negotiating Images 03 (Nero Editions, 2025).
Images both reflect and exert violence: AI pictures are generated in the journalistic style of a war photographer in Gaza; snapshots from the Abu Ghraib prisoner camp become a meme shared round the world; surveillance expands with automated image production, analysis and evaluation; sexist images still permeate advertising and the entertainment sector.
Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition Violent Images explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as counter-images—intentionally leaving productive gaps in visual narratives. They interrupt the supposed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking.
With works by Letizia Nicolini, Sophia Rabbiosi and Viola Silvi.
Featuring Broomberg & Chanarin and Eva Leitolf.
@liiquiirizia @discotopo @violante.exe
@adambroomberg @leitolf @giuliacordin
@unibz_designxart
Photo credits @fanni.fazekas.photography @baw_bolzanoartweeks
Studio Image meets Foto Forum
Violent Images
6.10. - 8.11.2025
@foto_forum
Curated by Giulia Cordin and Eva Leitolf
The exhibition Violent Images examines pressing aspects and implications of the visual representation of violence and coincides with the publication of the book Violent Images: Negotiating Images 03 (Nero Editions, 2025).
Images both reflect and exert violence: AI pictures are generated in the journalistic style of a war photographer in Gaza; snapshots from the Abu Ghraib prisoner camp become a meme shared round the world; surveillance expands with automated image production, analysis and evaluation; sexist images still permeate advertising and the entertainment sector.
Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition Violent Images explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as counter-images—intentionally leaving productive gaps in visual narratives. They interrupt the supposed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking.
With works by Letizia Nicolini, Sophia Rabbiosi and Viola Silvi.
Featuring Broomberg & Chanarin and Eva Leitolf.
@liiquiirizia @discotopo @violante.exe
@adambroomberg @leitolf @giuliacordin
@unibz_designxart
Photo credits @fanni.fazekas.photography @baw_bolzanoartweeks
Studio Image meets Foto Forum
Violent Images
6.10. - 8.11.2025
@foto_forum
Curated by Giulia Cordin and Eva Leitolf
The exhibition Violent Images examines pressing aspects and implications of the visual representation of violence and coincides with the publication of the book Violent Images: Negotiating Images 03 (Nero Editions, 2025).
Images both reflect and exert violence: AI pictures are generated in the journalistic style of a war photographer in Gaza; snapshots from the Abu Ghraib prisoner camp become a meme shared round the world; surveillance expands with automated image production, analysis and evaluation; sexist images still permeate advertising and the entertainment sector.
Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition Violent Images explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as counter-images—intentionally leaving productive gaps in visual narratives. They interrupt the supposed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking.
With works by Letizia Nicolini, Sophia Rabbiosi and Viola Silvi.
Featuring Broomberg & Chanarin and Eva Leitolf.
@liiquiirizia @discotopo @violante.exe
@adambroomberg @leitolf @giuliacordin
@unibz_designxart
Photo credits @fanni.fazekas.photography @baw_bolzanoartweeks
Studio Image meets Foto Forum
Violent Images
6.10. - 8.11.2025
@foto_forum
Curated by Giulia Cordin and Eva Leitolf
The exhibition Violent Images examines pressing aspects and implications of the visual representation of violence and coincides with the publication of the book Violent Images: Negotiating Images 03 (Nero Editions, 2025).
Images both reflect and exert violence: AI pictures are generated in the journalistic style of a war photographer in Gaza; snapshots from the Abu Ghraib prisoner camp become a meme shared round the world; surveillance expands with automated image production, analysis and evaluation; sexist images still permeate advertising and the entertainment sector.
Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition Violent Images explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as counter-images—intentionally leaving productive gaps in visual narratives. They interrupt the supposed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking.
With works by Letizia Nicolini, Sophia Rabbiosi and Viola Silvi.
Featuring Broomberg & Chanarin and Eva Leitolf.
@liiquiirizia @discotopo @violante.exe
@adambroomberg @leitolf @giuliacordin
@unibz_designxart
Photo credits @fanni.fazekas.photography @baw_bolzanoartweeks
Studio Image meets Foto Forum
Violent Images
6.10. - 8.11.2025
@foto_forum
Curated by Giulia Cordin and Eva Leitolf
The exhibition Violent Images examines pressing aspects and implications of the visual representation of violence and coincides with the publication of the book Violent Images: Negotiating Images 03 (Nero Editions, 2025).
Images both reflect and exert violence: AI pictures are generated in the journalistic style of a war photographer in Gaza; snapshots from the Abu Ghraib prisoner camp become a meme shared round the world; surveillance expands with automated image production, analysis and evaluation; sexist images still permeate advertising and the entertainment sector.
Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition Violent Images explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as counter-images—intentionally leaving productive gaps in visual narratives. They interrupt the supposed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking.
With works by Letizia Nicolini, Sophia Rabbiosi and Viola Silvi.
Featuring Broomberg & Chanarin and Eva Leitolf.
@liiquiirizia @discotopo @violante.exe
@adambroomberg @leitolf @giuliacordin
@unibz_designxart
Photo credits @fanni.fazekas.photography @baw_bolzanoartweeks
Studio Image meets Foto Forum
Violent Images
6.10. - 8.11.2025
@foto_forum
Curated by Giulia Cordin and Eva Leitolf
The exhibition Violent Images examines pressing aspects and implications of the visual representation of violence and coincides with the publication of the book Violent Images: Negotiating Images 03 (Nero Editions, 2025).
Images both reflect and exert violence: AI pictures are generated in the journalistic style of a war photographer in Gaza; snapshots from the Abu Ghraib prisoner camp become a meme shared round the world; surveillance expands with automated image production, analysis and evaluation; sexist images still permeate advertising and the entertainment sector.
Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition Violent Images explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as counter-images—intentionally leaving productive gaps in visual narratives. They interrupt the supposed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking.
With works by Letizia Nicolini, Sophia Rabbiosi and Viola Silvi.
Featuring Broomberg & Chanarin and Eva Leitolf.
@liiquiirizia @discotopo @violante.exe
@adambroomberg @leitolf @giuliacordin
@unibz_designxart
Photo credits @fanni.fazekas.photography @baw_bolzanoartweeks
Studio Image meets Foto Forum
Violent Images
6.10. - 8.11.2025
@foto_forum
Curated by Giulia Cordin and Eva Leitolf
The exhibition Violent Images examines pressing aspects and implications of the visual representation of violence and coincides with the publication of the book Violent Images: Negotiating Images 03 (Nero Editions, 2025).
Images both reflect and exert violence: AI pictures are generated in the journalistic style of a war photographer in Gaza; snapshots from the Abu Ghraib prisoner camp become a meme shared round the world; surveillance expands with automated image production, analysis and evaluation; sexist images still permeate advertising and the entertainment sector.
Violent images are part of our lives and shape how we perceive the world. They may directly represent violence, or their violent potential may be revealed in connection with their production, dissemination or use. Many questions arise: Where does the violence in and of the image begin? What makes an image violent? Who decides this, and in what context? How do production technologies and distribution channels influence the relationship between image and (the exercise of) violence? And how do artists deal with the issue of violence and the violent potential of image technologies?
The works in the exhibition Violent Images explore subtle rather than explicit forms of visual violence and their contexts, aiming to examine their cultural, social, and political impact. They resist immediate readability and full visibility, avoiding the risk of spectacularizing suffering or marginality. In different ways, they act as counter-images—intentionally leaving productive gaps in visual narratives. They interrupt the supposed neutrality of seeing, activating a space for doubt, thought, and the responsibility of looking.
With works by Letizia Nicolini, Sophia Rabbiosi and Viola Silvi.
Featuring Broomberg & Chanarin and Eva Leitolf.
@liiquiirizia @discotopo @violante.exe
@adambroomberg @leitolf @giuliacordin
@unibz_designxart
Photo credits @fanni.fazekas.photography @baw_bolzanoartweeks
Are you thinking of studying art? Then apply for the Art Major program at unibz / Free University of Bozen-Bolzano! All the info is here https://www.unibz.it/en/faculties/design-art/bachelor-art/
@unibz_designxart @unibz
DIMINISHING RETURNS
Studio Image meets Foto Forum
MATTEO ANTONIAZZI
MELANIE KASAL
Feat SARA BEZOVŠEK
6 October - 9 November 2024
Foto Forum, Bolzano-Bozen
CURATED BY EVA LEITOLF AND GIULIA CORDIN
We and our bodies, ideas, imaginations, and desires are consumed, processed, and monetized every day, just as we consume ourselves.
Questioning the concept of visual excess in times of global crises requires an expanded understanding of research fields that bridge multiple contexts: How do we visually confront – and find ourselves confronted by – the contemporary phenomena of (over-) production and (hyper-)consumption? How can we filter out information “signals” from an excess of data “noise”? How do narratives of excess interact with imaginaries of renouncement, sacrifice, and resistance? How do they shape the way we perceive ourselves and how we live together as societies?
The exhibition Diminishing Returns explores these questions, proposing counter-narratives and performative activities that challenge stereotypical notions of excess and its impacts. The works critically examine the personal, cultural, and social implications of excess from diverse perspectives.
They contribute to dialogue by creating spaces for reflection, analyzing the role and use of images in
our visual landscape, and engaging visitors through formats that directly challenge them.
@matteo.antoniazzi_
@wassupmelli
@sara_bezovsek
@foto_forum
@baw_bolzanoartweeks
@unibz_designxart
@unibz
@leitolf
@giuliacordin
DIMINISHING RETURNS
Studio Image meets Foto Forum
MATTEO ANTONIAZZI
MELANIE KASAL
Feat SARA BEZOVŠEK
6 October - 9 November 2024
Foto Forum, Bolzano-Bozen
CURATED BY EVA LEITOLF AND GIULIA CORDIN
We and our bodies, ideas, imaginations, and desires are consumed, processed, and monetized every day, just as we consume ourselves.
Questioning the concept of visual excess in times of global crises requires an expanded understanding of research fields that bridge multiple contexts: How do we visually confront – and find ourselves confronted by – the contemporary phenomena of (over-) production and (hyper-)consumption? How can we filter out information “signals” from an excess of data “noise”? How do narratives of excess interact with imaginaries of renouncement, sacrifice, and resistance? How do they shape the way we perceive ourselves and how we live together as societies?
The exhibition Diminishing Returns explores these questions, proposing counter-narratives and performative activities that challenge stereotypical notions of excess and its impacts. The works critically examine the personal, cultural, and social implications of excess from diverse perspectives.
They contribute to dialogue by creating spaces for reflection, analyzing the role and use of images in
our visual landscape, and engaging visitors through formats that directly challenge them.
@matteo.antoniazzi_
@wassupmelli
@sara_bezovsek
@foto_forum
@baw_bolzanoartweeks
@unibz_designxart
@unibz
@leitolf
@giuliacordin
DIMINISHING RETURNS
Studio Image meets Foto Forum
MATTEO ANTONIAZZI
MELANIE KASAL
Feat SARA BEZOVŠEK
6 October - 9 November 2024
Foto Forum, Bolzano-Bozen
CURATED BY EVA LEITOLF AND GIULIA CORDIN
We and our bodies, ideas, imaginations, and desires are consumed, processed, and monetized every day, just as we consume ourselves.
Questioning the concept of visual excess in times of global crises requires an expanded understanding of research fields that bridge multiple contexts: How do we visually confront – and find ourselves confronted by – the contemporary phenomena of (over-) production and (hyper-)consumption? How can we filter out information “signals” from an excess of data “noise”? How do narratives of excess interact with imaginaries of renouncement, sacrifice, and resistance? How do they shape the way we perceive ourselves and how we live together as societies?
The exhibition Diminishing Returns explores these questions, proposing counter-narratives and performative activities that challenge stereotypical notions of excess and its impacts. The works critically examine the personal, cultural, and social implications of excess from diverse perspectives.
They contribute to dialogue by creating spaces for reflection, analyzing the role and use of images in
our visual landscape, and engaging visitors through formats that directly challenge them.
@matteo.antoniazzi_
@wassupmelli
@sara_bezovsek
@foto_forum
@baw_bolzanoartweeks
@unibz_designxart
@unibz
@leitolf
@giuliacordin
DIMINISHING RETURNS
Studio Image meets Foto Forum
MATTEO ANTONIAZZI
MELANIE KASAL
Feat SARA BEZOVŠEK
6 October - 9 November 2024
Foto Forum, Bolzano-Bozen
CURATED BY EVA LEITOLF AND GIULIA CORDIN
We and our bodies, ideas, imaginations, and desires are consumed, processed, and monetized every day, just as we consume ourselves.
Questioning the concept of visual excess in times of global crises requires an expanded understanding of research fields that bridge multiple contexts: How do we visually confront – and find ourselves confronted by – the contemporary phenomena of (over-) production and (hyper-)consumption? How can we filter out information “signals” from an excess of data “noise”? How do narratives of excess interact with imaginaries of renouncement, sacrifice, and resistance? How do they shape the way we perceive ourselves and how we live together as societies?
The exhibition Diminishing Returns explores these questions, proposing counter-narratives and performative activities that challenge stereotypical notions of excess and its impacts. The works critically examine the personal, cultural, and social implications of excess from diverse perspectives.
They contribute to dialogue by creating spaces for reflection, analyzing the role and use of images in
our visual landscape, and engaging visitors through formats that directly challenge them.
@matteo.antoniazzi_
@wassupmelli
@sara_bezovsek
@foto_forum
@baw_bolzanoartweeks
@unibz_designxart
@unibz
@leitolf
@giuliacordin
DIMINISHING RETURNS
Studio Image meets Foto Forum
MATTEO ANTONIAZZI
MELANIE KASAL
Feat SARA BEZOVŠEK
6 October - 9 November 2024
Foto Forum, Bolzano-Bozen
CURATED BY EVA LEITOLF AND GIULIA CORDIN
We and our bodies, ideas, imaginations, and desires are consumed, processed, and monetized every day, just as we consume ourselves.
Questioning the concept of visual excess in times of global crises requires an expanded understanding of research fields that bridge multiple contexts: How do we visually confront – and find ourselves confronted by – the contemporary phenomena of (over-) production and (hyper-)consumption? How can we filter out information “signals” from an excess of data “noise”? How do narratives of excess interact with imaginaries of renouncement, sacrifice, and resistance? How do they shape the way we perceive ourselves and how we live together as societies?
The exhibition Diminishing Returns explores these questions, proposing counter-narratives and performative activities that challenge stereotypical notions of excess and its impacts. The works critically examine the personal, cultural, and social implications of excess from diverse perspectives.
They contribute to dialogue by creating spaces for reflection, analyzing the role and use of images in
our visual landscape, and engaging visitors through formats that directly challenge them.
@matteo.antoniazzi_
@wassupmelli
@sara_bezovsek
@foto_forum
@baw_bolzanoartweeks
@unibz_designxart
@unibz
@leitolf
@giuliacordin
DIMINISHING RETURNS
Studio Image meets Foto Forum
MATTEO ANTONIAZZI
MELANIE KASAL
Feat SARA BEZOVŠEK
6 October - 9 November 2024
Foto Forum, Bolzano-Bozen
CURATED BY EVA LEITOLF AND GIULIA CORDIN
We and our bodies, ideas, imaginations, and desires are consumed, processed, and monetized every day, just as we consume ourselves.
Questioning the concept of visual excess in times of global crises requires an expanded understanding of research fields that bridge multiple contexts: How do we visually confront – and find ourselves confronted by – the contemporary phenomena of (over-) production and (hyper-)consumption? How can we filter out information “signals” from an excess of data “noise”? How do narratives of excess interact with imaginaries of renouncement, sacrifice, and resistance? How do they shape the way we perceive ourselves and how we live together as societies?
The exhibition Diminishing Returns explores these questions, proposing counter-narratives and performative activities that challenge stereotypical notions of excess and its impacts. The works critically examine the personal, cultural, and social implications of excess from diverse perspectives.
They contribute to dialogue by creating spaces for reflection, analyzing the role and use of images in
our visual landscape, and engaging visitors through formats that directly challenge them.
@matteo.antoniazzi_
@wassupmelli
@sara_bezovsek
@foto_forum
@baw_bolzanoartweeks
@unibz_designxart
@unibz
@leitolf
@giuliacordin
DIMINISHING RETURNS
Studio Image meets Foto Forum
MATTEO ANTONIAZZI
MELANIE KASAL
Feat SARA BEZOVŠEK
6 October - 9 November 2024
Foto Forum, Bolzano-Bozen
CURATED BY EVA LEITOLF AND GIULIA CORDIN
We and our bodies, ideas, imaginations, and desires are consumed, processed, and monetized every day, just as we consume ourselves.
Questioning the concept of visual excess in times of global crises requires an expanded understanding of research fields that bridge multiple contexts: How do we visually confront – and find ourselves confronted by – the contemporary phenomena of (over-) production and (hyper-)consumption? How can we filter out information “signals” from an excess of data “noise”? How do narratives of excess interact with imaginaries of renouncement, sacrifice, and resistance? How do they shape the way we perceive ourselves and how we live together as societies?
The exhibition Diminishing Returns explores these questions, proposing counter-narratives and performative activities that challenge stereotypical notions of excess and its impacts. The works critically examine the personal, cultural, and social implications of excess from diverse perspectives.
They contribute to dialogue by creating spaces for reflection, analyzing the role and use of images in
our visual landscape, and engaging visitors through formats that directly challenge them.
@matteo.antoniazzi_
@wassupmelli
@sara_bezovsek
@foto_forum
@baw_bolzanoartweeks
@unibz_designxart
@unibz
@leitolf
@giuliacordin
DIMINISHING RETURNS
Studio Image meets Foto Forum
MATTEO ANTONIAZZI
MELANIE KASAL
Feat SARA BEZOVŠEK
6 October - 9 November 2024
Foto Forum, Bolzano-Bozen
CURATED BY EVA LEITOLF AND GIULIA CORDIN
We and our bodies, ideas, imaginations, and desires are consumed, processed, and monetized every day, just as we consume ourselves.
Questioning the concept of visual excess in times of global crises requires an expanded understanding of research fields that bridge multiple contexts: How do we visually confront – and find ourselves confronted by – the contemporary phenomena of (over-) production and (hyper-)consumption? How can we filter out information “signals” from an excess of data “noise”? How do narratives of excess interact with imaginaries of renouncement, sacrifice, and resistance? How do they shape the way we perceive ourselves and how we live together as societies?
The exhibition Diminishing Returns explores these questions, proposing counter-narratives and performative activities that challenge stereotypical notions of excess and its impacts. The works critically examine the personal, cultural, and social implications of excess from diverse perspectives.
They contribute to dialogue by creating spaces for reflection, analyzing the role and use of images in
our visual landscape, and engaging visitors through formats that directly challenge them.
@matteo.antoniazzi_
@wassupmelli
@sara_bezovsek
@foto_forum
@baw_bolzanoartweeks
@unibz_designxart
@unibz
@leitolf
@giuliacordin
Last night of our North American tour! Landscape with(out) Locus at Head Hi, Brooklyn! Thank you @headhi_ny for hosting us and @tiagotorrescampos for joining to discuss your contribution to the book! Thanks for coming!
@nero_editions 💥@unibz_designxart @leitolf @giuliacordin
Last night of our North American tour! Landscape with(out) Locus at Head Hi, Brooklyn! Thank you @headhi_ny for hosting us and @tiagotorrescampos for joining to discuss your contribution to the book! Thanks for coming!
@nero_editions 💥@unibz_designxart @leitolf @giuliacordin
Last night of our North American tour! Landscape with(out) Locus at Head Hi, Brooklyn! Thank you @headhi_ny for hosting us and @tiagotorrescampos for joining to discuss your contribution to the book! Thanks for coming!
@nero_editions 💥@unibz_designxart @leitolf @giuliacordin
Last night of our North American tour! Landscape with(out) Locus at Head Hi, Brooklyn! Thank you @headhi_ny for hosting us and @tiagotorrescampos for joining to discuss your contribution to the book! Thanks for coming!
@nero_editions 💥@unibz_designxart @leitolf @giuliacordin
Last night of our North American tour! Landscape with(out) Locus at Head Hi, Brooklyn! Thank you @headhi_ny for hosting us and @tiagotorrescampos for joining to discuss your contribution to the book! Thanks for coming!
@nero_editions 💥@unibz_designxart @leitolf @giuliacordin
presented Landscape with(out) Locus at CCA, Montréal! Thank you @canadiancentreforarchitecture for hosting us and @iicmontreal for friendly support! @nero_editions 🔥
presented Landscape with(out) Locus at CCA, Montréal! Thank you @canadiancentreforarchitecture for hosting us and @iicmontreal for friendly support! @nero_editions 🔥
presented Landscape with(out) Locus at CCA, Montréal! Thank you @canadiancentreforarchitecture for hosting us and @iicmontreal for friendly support! @nero_editions 🔥
presented Landscape with(out) Locus at CCA, Montréal! Thank you @canadiancentreforarchitecture for hosting us and @iicmontreal for friendly support! @nero_editions 🔥
presented Landscape with(out) Locus at CCA, Montréal! Thank you @canadiancentreforarchitecture for hosting us and @iicmontreal for friendly support! @nero_editions 🔥
Reposted from @nero_editions
Landscape with(out) Locus goes abroad ✈️🍁🗽
We’re thrilled to announce two special events across the Atlantic to promote “Landscape with(out) Locus” by Eva Leitolf (@leitolf) and Giulia Cordin (@giuliacordin), from @unibz_studioimage. Join us in Montreal and New York for discussions on the relationship between landscape, power, identity, and the impact of visual representation in the age of ecological crisis.
🍁 Montreal
📍 Canadian Centre for Architecture (@canadiancentreforarchitecture)
🗓 Sept 12, 6:00 pm
This conversation with the curators is organized with the collaboration of the Istituto Italiano di Cultura di Montreal (@iicmontreal). No reservation needed!
🗽 New York
📍 Head Hi (@headhi_ny)
🗓 Sept 17, 6:30 pm
🔗 RSVP through link in bio/headhi.net
We’ll be joined by special guest Tiago Torres Campos (@tiagotorrescampos) alongside the curators Eva Leitolf and Giulia Cordin. Make sure to secure your spot!
Landscape with(out) Locus interprets landscape as an ever-changing social, economic, and ecological construct. Addressing questions of power, identity, and natural resources, the publication follows histories of surveillance and colonialism, considering photographic (and post-photographic) images as central to the process of interacting with the world.
Come and dive into a dialogue on landscape and its evolving meanings. See you there! 💜
Reposted from @nero_editions
Landscape with(out) Locus goes abroad ✈️🍁🗽
We’re thrilled to announce two special events across the Atlantic to promote “Landscape with(out) Locus” by Eva Leitolf (@leitolf) and Giulia Cordin (@giuliacordin), from @unibz_studioimage. Join us in Montreal and New York for discussions on the relationship between landscape, power, identity, and the impact of visual representation in the age of ecological crisis.
🍁 Montreal
📍 Canadian Centre for Architecture (@canadiancentreforarchitecture)
🗓 Sept 12, 6:00 pm
This conversation with the curators is organized with the collaboration of the Istituto Italiano di Cultura di Montreal (@iicmontreal). No reservation needed!
🗽 New York
📍 Head Hi (@headhi_ny)
🗓 Sept 17, 6:30 pm
🔗 RSVP through link in bio/headhi.net
We’ll be joined by special guest Tiago Torres Campos (@tiagotorrescampos) alongside the curators Eva Leitolf and Giulia Cordin. Make sure to secure your spot!
Landscape with(out) Locus interprets landscape as an ever-changing social, economic, and ecological construct. Addressing questions of power, identity, and natural resources, the publication follows histories of surveillance and colonialism, considering photographic (and post-photographic) images as central to the process of interacting with the world.
Come and dive into a dialogue on landscape and its evolving meanings. See you there! 💜
Reposted from @nero_editions
Landscape with(out) Locus goes abroad ✈️🍁🗽
We’re thrilled to announce two special events across the Atlantic to promote “Landscape with(out) Locus” by Eva Leitolf (@leitolf) and Giulia Cordin (@giuliacordin), from @unibz_studioimage. Join us in Montreal and New York for discussions on the relationship between landscape, power, identity, and the impact of visual representation in the age of ecological crisis.
🍁 Montreal
📍 Canadian Centre for Architecture (@canadiancentreforarchitecture)
🗓 Sept 12, 6:00 pm
This conversation with the curators is organized with the collaboration of the Istituto Italiano di Cultura di Montreal (@iicmontreal). No reservation needed!
🗽 New York
📍 Head Hi (@headhi_ny)
🗓 Sept 17, 6:30 pm
🔗 RSVP through link in bio/headhi.net
We’ll be joined by special guest Tiago Torres Campos (@tiagotorrescampos) alongside the curators Eva Leitolf and Giulia Cordin. Make sure to secure your spot!
Landscape with(out) Locus interprets landscape as an ever-changing social, economic, and ecological construct. Addressing questions of power, identity, and natural resources, the publication follows histories of surveillance and colonialism, considering photographic (and post-photographic) images as central to the process of interacting with the world.
Come and dive into a dialogue on landscape and its evolving meanings. See you there! 💜
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.