The blunt and sharp vision of the novel by Collodi supports the polymorphic structure that has always provided the key to multiple interpretations. In a deliberately patchy fashion, almost in parceled-out allotments, the goal is to show the reader the gloomiest nature of the story and its underlying Gothic vision; these are aspects that in the collective fictitious world, thanks to sugarcoated readings such as Disney’s, tend to get lost.

What may seem like a literary nuance is the undeniable reality of our everyday world: Pinocchio conned, chained, exploited, stabbed, hung, arrested, and unjustly imprisoned, embodies a similar situation to that of the migrants arriving in the „beautiful land of toys.“

Our fairy tale, as well as the stories of abuse and violence that too often go along with the amalgamation of migrants from every land and every era, are the key to the reading of this section of “Black Pinocchio.” Raffaello De Vito

Raffaello De Vito was born in Mirandola in 1967, in 1981 began working as a studio photographer in advertising photography. He lives and works as an advertising photographer in Reggio Emilia.

2012 “Nero Pinocchio” - Galerie Eulenspiegel - Basel (CH)
2012 “Cittadinanza” - Fotografia Europea - Reggio Emilia (I)
2012 “Nero Pinocchio” - Milan Image Art Fair - Milano (I)
2011 “Identità” - Fotografia Europea 2011 -  Reggio Emilia  (I)
2001 “Sculture” - Spazio Renault -  Reggio Emilia  (I)
2000 “Coffee Breack” - Ikos Agenzia - Modena (I)
1999 “Campari” - Feria De Arte y Antyguedades - ValenciaA (E)
1998 “Huesca Imagen” - Escuela De Arte De Huesca - Huesca Aragon (E)
1998 “Un Ballon Dans La Photo” - Galerie Municipale Du Chateau D’Eau - Toulouse (F)
1997 “Caleidoscopio” - Galerie Municipale Du Chateau D’Eau - Toulouse (F)
1993 “Antologia Fotografica” - Kantonsbibliothek Liestal (CH)

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