My summary written in freedom x x

1. *** - A FUNDAMENTAL DIGRESSION-***
§As Summary in freedom I mean "to say" which it was written with “an informal style", even perhaps a bit chaotic , but
absolutely "complete and informative".
*** You must know that I don't like to “talk”, to describe my work: so , in drawing up this post, , I will use "concepts, digressions,
definitions”, already having been used § by Others , in defining my NYC-Work. : “as a DOCUMENTARY ANALYST-ARTIST”
I am able to write about the fundamental aspects of my work .
Anyway I've always left to the audience, the observers , to judge, express opinions, give responses, regarding my work.
>>>I ASK YOU ALSO POLITELY, "TO TAKE YOUR –TIME” TO READ THIS SUMMURAY IN FREEDOM .
Thank you very much indeed .
***§*** ***§***
***AN INFORMAL SUMMARY WRITTEN IN FREEDOM***
-Some informations to your attention to help you better understand “who I am and what I do” ***
>I am 39 years-old .
>I am a northern- italian .
>I am half -”BERGAMASCO- BERGAMO ”-where I was born and I have been living till the age of 21-and half ”VENETIAN-
VENICE”-
>I began to study photography"The Photography" at the age of eighteen, in London:
At - "The University of London" –London- General Studies in photography.
>Subsequently, the - "Institute European of Design "-, Milan.
Here I studied fashion and stil life photography, Documentary Photography ,above all ADVERTISING PHOTOGRAPHY:
“Media communication and the structure of the advertising semantics and semiotics” .
In Milan I won a 6 month scholarship to study at “The SPEOS”;but as a tipical italian way to unable to organize and respect “th
the Institute "blew the scholarship" for disorganization of the stuff so i got upset so because I wasn't satisfied with the program,
I have "concluded" 2 years out of three,with the best academic evaluations and then I decide to go to New York, at the
International Center of Photography, where I completed my cultural background (Doucumentary program).
>At the age of 21 years, my first job was a freelance, unpaid work (1993-94).
We went to"cover" the last 4 days of "The Bosnian War"(1993-94) :
We went by car, with my Brazilian partner (an escape-pilot) , to "document" the last 4 days (- 1993 -) of "The war in Bosnia,"
between Sarajevo and Mostar .
We Put "a large handwritten sign PRESS" on the wind-shield car and ”we walked into the conflict."
- In that particular situation, I felt calm, lucid, at ease, "smooth":
I was putting in pose the military, I was looking for the wounded-dying; I was feeling-the adrenaline "climb shoot after shoot”.
My buddy has not "made a picture", on the other hand, when he heard the gunfire shots,- he accelerated the car to the maximum
"for faded." Pilot escape.
-In Those days ,when we went back in Milan,an Italian war photographer has asked me to go to work with him. I realized
that I never wanted to become "a war photographer" for a specific reason:
*Personally I think and believe, that in “such”a context, to"take" a glaring, spectacular ,"in the negative sense","in the negative
meaning", image on the skin of whom brutally dies, it is too easy, immoral, "useless", sometimes disgusting : documenting only the
"facade side" without showing the real, the true and the more “deep mechanisms” of why that war is fighting, beeing
fought.
On my way to conceive "The Photography", documenting practically nothing, apart “what they want to make you see”; so the work
become a matter of addiction to the adrenaline , made few exceptions ; Robert Capa , James Natchway... .
.>>>I never digitized the images, I have obviously the negatives , but I will not propose or show the work.
Matter of personal moral principle.

2. >"MOVING INTO THE GREY"<
-Personally, I have always wanted to see, feel, know, understand, perceive and assimilate, " what is hidden, concealed behind the
appearance” to document a more deep and objective truth .
"Always moving myself in the Shadow Zone- between the grays , searching with my good eye closed where are hidden the real
motives".
>Returned from Colombia, where I have been living for 3 month, I have product and published on the most important national
Magazine, a work about “The Autism”; subject that has never been proposed , published and shown in the history of the Italian
press. I have someattached a text and images about the work.
> I have been asked to "hold" a "three month workshop" of Photography at the "Royal Institute of Thailand," Bangkok.
> I worked -a year- in Cuba, with Ernesto Bazan.
> I have been working in Central America (also with Antonin K.-contact) for one year (Mexico - Guatemala - Belize - Honduras
- Nicaragua - El Salvador- Panama- Colombia) "documenting" various subjects and situations (...) .
>I have been living and working for three years in Sao Paulo, Brazilas, as a geopolitical anlayst of Photography at “The I.E.D.-
BRAZIL”the only Italian University recognized in Brazil, etc,etc,etc.
-During this period I have worked for -The Italian Government “as government geopolitical analyst” by treating the inter trade
relationship between Italy, Brazil and Argentina - Brazil ", S.P. .
-I Drafted taught the first course certified by the Brazilian Government.course of "The Photography" at the
"I. E.D. "- Sao Paulo, the only Italian University recognized in Brazil.
- In S.P. we have founded a "Magazine", which IT is and has "object" of study in the universities in Brazil, also for as I have
"treated" the topic of "The Italian Community in Brazil."
* The editorial setting I wanted-it , was to emphasize the "Italian Excellence" in Brazil.Community which have contributed
fundamentally into industrialize the country.
> I worked in Southeast-Asia, (Viet Nam - Burma -Thailand -Philippines ...) for two years.
-In particular in Cambodia I "covered"> " the XDR-TB." Argument that we have reported in depth and completeness , I think
by only two documentarians world wide: James Nachtwey and "me".
I have attached "some significant images" .
> I have published, exhibited, sold "my work" both nationally than internationally etc. etc .etc. .
°°°-Note-°°°
Do not look for informations on me online; I wanted to close "my web site" -then you will understand why.
>>>*<<<-”Finally Let's say” I have completed" my studies , my academic-training , my“own personal concept and vision”- in
New York, At - "The International Center of Photography" - .
-In “The City” I have enhanced my "skills", refined "My talent", gaining an awareness, deeper and more accurate perception,
cognition and conscious enable into "the capacity to analyze and decode" - broadly and complete -, the occurrence of certain
events in special conditions: "exercising" these aforementioned particular abilities- in many different "sectors" and
“situations”.
In that period Antonin “The Mofo” Kratochvil, asked me (he has choosen me also for the work I would be developing in The
City)to go to work with him after finishing the program: so i did_.
" We were/ are just -naturally sympathetic-”: we developed a relationship, both professional then of deep friendship based on
mutual respect.
Relationship that lasted for 14 years and that it has been interrupted, I have to admit without shame, for my own personal
responsibility.
°Working with ANTONIN In New York was great fun for me: I have, therefore, worked with him -(2000-2003)- for 3 year plus
one spent in Central America with his contacts (...).
° In this "period of time" we "covered" and “produced”: from Milos Forman to David the Chief of the N.Y.P.D , etc etc etc”.

3. >In New York *In brief “they said”I have acknowledged, I developed and amplified an unique instinct, an “analytical
perceptive sensibility- sensitivity " - higher than the average; unconsciously thinking and rationally acting ,reacting , at the
same time . -Not many people in the world can have the "special kind of access” like Antonin .
§It was very informative as well ”revelatory”,working with A. K., watching very closely the Kafkian mechanism – that
“manages and pilot” -the world media information system: "The fiction becomes reality and the reality fiction: for then" to
shift in a-sort of "unique hybrid scenery" in which the boundary lines do not exist anymore.
§I have to “admit” that in all these years, Antonin was for me, a fundamental point of reference, (professionally he was/is
considered "a Living Legend", considered one of "All Time Best Documentary in The History") but especially on the human-
factor : like “a sort” of father that “love” your work and tells you. We had a "strong- understanding, a special inter relationship-
friendship-that goes beyond the simple friendship” .
>>>Working with Antonin, I have calibrated and fully developed. " very special personal methods and skills”; I will always be
"grateful" to him for had choosing me.
***In this three and a half years that I have worked in New York (2000-2003), before,- during and after 9/11, I "structured",
"created", during that very special historical moments, a "Concept -Work " with the City as a "scenario “:
-Was Antonin , he has always pushed and encouraged me with his wise words and through "his great facts" keeping –telling me
to finish the "NYC- Work"; for a part of that job he wanted me with him:with his enthusiasm he made me very proud of myself,
making me aware of having "earned" The Respect (His like that of the others ones), working -on the field -in-zones: applying
myself at the max and beyond my strength ; risking, at the same time unconsciously than consciously, my life itself .
-From New York, through Milan, Central America, -back in New York again; then, through Brazil- Sao Paulo, Thailand- BKK back
to Italy ,he have always said, spurred on me , with your wise words and through your great facts, to finish the "NYC-WORK".
-"THE LOW ENERGY WAVES " -
–
***Let me be for once self-referential without appearing a complete fool.
§ From 2000 to 2003- so I have been “shooting” almost everyday in Town -producing the material which later , then it would be
structured the work.
In that "period" of time in the City “there was a very special energy”, I would write, using an euphemism" a very dark-powerful
permanent tension on the island of Manhattan."
I was photographing “around”, in a "work in progress", practically every day and that "moved" my research in a particular direction,
this before the event.
The 70 percent of the work was photographed before September 11.
-When "Happened" the 9/11, we were not "amazed" that much; we were, in fact , "talking" a lot , wondering, -with an almost
rhetorical tone-, how it was not happened yet a 'sensational event in Manhattan; something striking that could move the "center of
the world gravity’s policy” (economically -socially- culturally, militarily ...) to the west of the globe. "
>An example only to make you understand.
-Before 9/11, when I showed up in ICP with"a line of images" for “an essaiment” that C. H. ( ***“R.I.P.” ***) gave to the
class,looking to that “line”, he was completely astonished , amazed, incredulously :
He keeped asking me, for a good hour, what I meant , “what I was meaning to say”: then he reported back to A. M. that “in ten
years of teaching at “The MIT-NYC”, he had met very few people like me and he wanted to help me too ... .
>I am “telling” you this because , as a matter of the facts, what “I was meaning”, at the time without any self knowledge, it is
what happened after.
-I can summarize in a single phrase what I think , what I want to do for the reasons "mentioned above" and more:
*The “History of The SCHOOL OF NEW YORK ” foresees that-to close the circle,“when you create a New Level which
naturally deserve Its feed- back”, must-be " brought back in New York”- to the New-Yorkers.
This is "The School of New York”. These are “Its” Traditions that must be complied and respected: It is the "History" (History
repeats itself- in a "circular flow of time" , like a "loop") which "tells" the rules.
If you mean my words, my thoughts.
>This is so that I would like for reasons that rationally I respect ;but the contemporary art world, from
1960 to date has changed: curators who have no preparation to understand what will be the art of the
future and what not, etc. etc. etc. so... .

4. -“A NEW LEVEL”-
°It seems I have “ended the old level", to create-reach “a new one”, conceiving , by using-shifting an innovative, unconventional
method to “portrait” the Mankind’s things” : the -Level-that I have "shaped" and “molded”, it is "sculpted” with a fresh,
original imagery, made of "a matter", that is aesthetic, conceptually-philosophically universal and innovative: easily
decipherable, when compared with “the current context” of our life.
***§***
-“THE NEW YORK CITY KABALLA DANCE -QUANTUM PROJECT”-
-“LOOKING FOR MY TEDDY BEAR”-
§-The-New-Yorkers-Lobby-§
*** Relevant and Essential ***
°-Powerful men of Art and Culture, "Luminaries" by global "caliber" True enlightenment already in “The Olympus of the
mankind's art history”They say:
§I have elaborated and articulated, during these years a”new concept of the visual image ,contemplating both the use of
a specific semiotic (scientific rational part)technique “pushed at it's maximum llevel”to**^ stylized a single-visual concept
“made also of Quantistich, Kaballa, Mistery to create ,“THEY SAID”, “A Timeless Opera ” because IT has inside and it
“touchs" extremely sensitive and fundamental topics of the past , the present and the future.
°THEY THINK THAT Historically, the only, possible, conceivable kind of Contemporary Art ( especially over the future
shape),WILL BE the one “able” to portray with extreme precision and in an absolute realistic way our Time , our future history.
Through an "innovative" semiotics , with an easily interpretable unique language, "Looking for my Teddy Bear-NYC-work”,
they “said” , transmits and shows, “like a mirror”, representatives core fundamentals values and ancestral meanings of the
past , the present and the future OF THE mankind-history:
Looking to the images of the work, the interlocutor, the observer is able to universally recognize and acknowledges “ his own
reflection , the shape of himself, his everyday life-time” .
The rest of the contemporary art ,“made up” only with decorative purposes, designed to impress , shock or “tranasmit” only
aesthetic pleasure to the observer etc.etc.etc. “it will be totally forgotten and It will completely lose any economic and artistic
value” .
***§***
- “THE SAME VALUE AS GOLD”-
Paraphrasing them said that: "... in essence," the NYC-Work "-it has, due to its characteristics, implicitly and explicit,(Using an
euphemism...as another it could be used) the same value of gold”.>
^Those Luminares, they explained me, with precise reasoning on contemporary art history, with a wise cognition and with an
unexceptionable historically analysis of the mechanisms of the Art Market,- moved by the competent lobby so:
The today market , for years now, for social-economic cultural contributing factors (the global crisis- that will "reach", in
perspective, peaks and higher levels etc .etc .etc) will set out- the "actual specific weight" of a -contemporary-work as "The
Black Magic NYC Kaballah Dance Quantum Project "," Looking for my Teddy Bear ,”> calling -considering it priceless", with a
value that will increase in the future.
*They told me I have developed “the Saeed” for a “ new visual full form to portray the reality” and so I have, as a matter of the
facts, created “a different art”: configuring a turning point that "can be made" only by using photographic tools. .
-When I was “working on this” I did not have all the perceptions- I was "shaping" an unique semiotics but, I was conscious, in
a work in progress, I was ”creating-marking” a precise new point of absolute-universal reference, but always

5. "relative" because a "projection".
>It would appear “, I succeeded, taking also into consideration, what has been "told" me by eminent people:
I shutdown the “contemporary and classical visual art” by creating a "meme-matrix”, the substance of which is made by a
multiple types, kind of different truths, both known that unknown, merged into one personal form of perception and
projection, searching and defining new -signifiers, unique and totally original in their content by documenting our time, using
a sort of "Kafkian- Method”.
>°Through a research and an analysis by using an unusual point of view-approach in to analize“ the human-things”(often
hidden under different aspects and meanings), I have finally found one truth, one vision, one dimension, alternative and
parallel, at the same time, to that one of the human knowledge:
-Using a crossover-combining different "disciplines", "methods", "cultures", "philosophies", “arts”,
“religions”,”techniques”... :above all, especially , at the end of the day , using my instincts. .
Period.
*I repeat that in describing “the work” I tried to use words, concepts, thoughts etc.etc.etc that -whom”others”- have used before
about “The Work Itself”.
°Obviously to understand “The concept” -the Work- has to be “looked and seen”:
“ALL the rest are just words... .”
-“IN ADVERSA ULTRA ADVERSA”-
CARLO M. ROSA
P.S.
To defuse.
-“AN INTERESTING –EXPLANATORY ANECDOTE”-
-“HOMER”-
During the "collapse" of the Towers, with my friends and colleagues, I was in the darkroom to print, we went
down to "ground - zero", to help.
Twenty-four hours after the collapse, -the restricted area-,was monitored constantly- "live by the satellite" -.
Impossible to have access (...).
We have "placed" out from the only "entry" : in-one instant, "a very strange character” (I have "portrait"
him) is moved out of the zone:
He was wearing the classic accident prevention 'yellow helmet with , written by hand in black felt pen in front
of the helmet itself- "Homer"-.
My colleague and me, just amazed, asked him what he thought about the event.
>>>The man,”HOMER”, to litterally paraphrase him, replied:
"This is the greatest Masterpiece I've ever seen in my life".
C. M. R.

6. "relative" because a "projection".
>It would appear “, I succeeded, taking also into consideration, what has been "told" me by eminent people:
I shutdown the “contemporary and classical visual art” by creating a "meme-matrix”, the substance of which is made by a
multiple types, kind of different truths, both known that unknown, merged into one personal form of perception and
projection, searching and defining new -signifiers, unique and totally original in their content by documenting our time, using
a sort of "Kafkian- Method”.
>°Through a research and an analysis by using an unusual point of view-approach in to analize“ the human-things”(often
hidden under different aspects and meanings), I have finally found one truth, one vision, one dimension, alternative and
parallel, at the same time, to that one of the human knowledge:
-Using a crossover-combining different "disciplines", "methods", "cultures", "philosophies", “arts”,
“religions”,”techniques”... :above all, especially , at the end of the day , using my instincts. .
Period.
*I repeat that in describing “the work” I tried to use words, concepts, thoughts etc.etc.etc that -whom”others”- have used before
about “The Work Itself”.
°Obviously to understand “The concept” -the Work- has to be “looked and seen”:
“ALL the rest are just words... .”
-“IN ADVERSA ULTRA ADVERSA”-
CARLO M. ROSA
P.S.
To defuse.
-“AN INTERESTING –EXPLANATORY ANECDOTE”-
-“HOMER”-
During the "collapse" of the Towers, with my friends and colleagues, I was in the darkroom to print, we went
down to "ground - zero", to help.
Twenty-four hours after the collapse, -the restricted area-,was monitored constantly- "live by the satellite" -.
Impossible to have access (...).
We have "placed" out from the only "entry" : in-one instant, "a very strange character” (I have "portrait"
him) is moved out of the zone:
He was wearing the classic accident prevention 'yellow helmet with , written by hand in black felt pen in front
of the helmet itself- "Homer"-.
My colleague and me, just amazed, asked him what he thought about the event.
>>>The man,”HOMER”, to litterally paraphrase him, replied:
"This is the greatest Masterpiece I've ever seen in my life".
C. M. R.