...thus it is that a photographer like Michele Alassio, in order to carry away or steal the soul of the stones of Venice (and they, at least, are not aware or terrified, nor manipulated in their peremptory eternity) has to seek a sort of transfert between the surface of objects, articles or landscapes, and the surface of the supports appropriate for their reproduction. A transfert between skin and skin which comes from far away and has the added value of the images from the real world fixed technologically as its effective aim, that is, the possibility (stimulated perhaps, although in the meaning of ‘artificially reproducing the conditions of a real phenomenon for the purposes of experimentation 5 ) to reach immortality....(Read more)

From the essay by Carlo Montanaro from the catalogue