By ANNATERESA FABRIS:
Just like photographers attentive to the spectacle of everyday life, the writer demonstrates the ability to deal with aspects of mass civilization in a detached but no less critical way.
By ANNATERESS FABRIS: Considerations on Ibrahim Nasrallah's recently published book
By ANNATERESS FABRIS: Colombian collectives, Sarah Hooks Oldham and Rosana Paulino construct counter-hegemonic images that call into question stereotypical views about class, ethnicity and gender
By ANNATERESS FABRIS: Considerations about the book by Anna Maria Maiolino
By ANNATERESS FABRIS: Photography and autosociobiography in Édouard Louis and Didier Eribon
By ANNATERESS FABRIS: Through portraits Clarice Lispector can observe and make her correspondents see the transformations that the passage of time imprints on bodies
By ANNATERESS FABRIS: Considerations on Alain Ughetto's film.
By ANNATERESS FABRIS: The idea of photography as evidence of reality in Literature
By ANNATERESA FABRIS:
The search for the right balance between creative impulse and technical mastery
By ANNATERESA FABRIS:
Considerations about the works and trajectory of the plastic artist
By ANNATERESA FABRIS:
About princesses, mothers and nymphs: some female images
By ANNATERESA FABRIS:
Gender studies tend to lose sight of the tensions that agitate the artistic field.
By ANNATERESA FABRIS:
Considerations on the trajectory of the plastic artist
By ANNATERESA FABRIS:
Considerations on the uses of excerpts from Rossini's operas in North American animation cinema
By ANNATERESA FABRIS & MARIAROSARIA FABRIS:
Comment on the film “Ana. Untitled” directed by Lúcia Murat
By ANNATERESA FABRIS:
Commentary on the documentary directed by Franco Maresco and on the trajectory of the photographer Letizia Battaglia
By ANNATERESA FABRIS:
Identity and disguise: the transvestite body
By ANNATERESA FABRIS:
Commentary on the Imagination of the US Entertainment Industry
By ANNATERESA FABRIS:
Comment on the video installation and book by Rosângela Rennó and Alicia Duarte Penna
By ANNATERESA FABRIS:
Just like photographers attentive to the spectacle of everyday life, the writer demonstrates the ability to deal with aspects of mass civilization in a detached but no less critical way.
By ANNATERESS FABRIS: Considerations on Ibrahim Nasrallah's recently published book
By ANNATERESS FABRIS: Colombian collectives, Sarah Hooks Oldham and Rosana Paulino construct counter-hegemonic images that call into question stereotypical views about class, ethnicity and gender
By ANNATERESS FABRIS: Considerations about the book by Anna Maria Maiolino
By ANNATERESS FABRIS: Photography and autosociobiography in Édouard Louis and Didier Eribon
By ANNATERESS FABRIS: Through portraits Clarice Lispector can observe and make her correspondents see the transformations that the passage of time imprints on bodies
By ANNATERESS FABRIS: Considerations on Alain Ughetto's film.
By ANNATERESS FABRIS: The idea of photography as evidence of reality in Literature
By ANNATERESA FABRIS:
The search for the right balance between creative impulse and technical mastery
By ANNATERESA FABRIS:
Considerations about the works and trajectory of the plastic artist
By ANNATERESA FABRIS:
About princesses, mothers and nymphs: some female images
By ANNATERESA FABRIS:
Gender studies tend to lose sight of the tensions that agitate the artistic field.
By ANNATERESA FABRIS:
Considerations on the trajectory of the plastic artist
By ANNATERESA FABRIS:
Considerations on the uses of excerpts from Rossini's operas in North American animation cinema
By ANNATERESA FABRIS & MARIAROSARIA FABRIS:
Comment on the film “Ana. Untitled” directed by Lúcia Murat
By ANNATERESA FABRIS:
Commentary on the documentary directed by Franco Maresco and on the trajectory of the photographer Letizia Battaglia
By ANNATERESA FABRIS:
Identity and disguise: the transvestite body
By ANNATERESA FABRIS:
Commentary on the Imagination of the US Entertainment Industry
By ANNATERESA FABRIS:
Comment on the video installation and book by Rosângela Rennó and Alicia Duarte Penna
