"MAGIA FOTOGRAFIA" pubblished on the French Webmagazine, "OURAGEIS13.COM", go to page
Portfolio Europa (Fotografia Europea 2013), come miglior portfolio.
Jury composed by: Laura Serani, Peggy Sue Amison, Krzysztof Candrowicz,
Miha Colner, Gigliola Foschi, Elina Heikka e Carine Dolek
DENIS CURTI, MIA Considerations 2013 go to page
LE MONDE 10.05.2013, on-line pubblication, go to page
GAI, PADOVA FOTOGRAFIA, General Catalogue, Padua, 2013
GEMINE E MUSE, Padua 2010, Catalogue Skira Editions
GIGLIOLA FOSCHI "L'incanto", "The Enchantmen" EXHIBITION EUROPEAN PHOTOGRAPHY 2010, Reggio Emilia, Catalogue Electa Editions
GLORA VALLESE "Come ai tempi della Serenissima" (When the Serenissima times) pubblished in ARTE 2009, Magazine Mondadori Editions
"BURSARY PRIZE" received by Angela Vettese from "Bevilacqua la Masa", Venice, 2008
"QUOTIDIANA", Catalogue curated by Guido Bartorelli, Stefania Schiavon, Padua, 2007
"90 EDITION BEVILACQUA LA MASA", Catalogue curated by ANGELA VETTESE, Venice, 2007
Remake, EN PLEIN AIR ARTECONTEMPORANEA, Pinerolo, Turin, 2006
ll Senso Del Viaggio ( The sense of Travel), Catalogue curated by ANGELA MADESANI, SAN FEDELE GALLERY, Milan, 2006
"Alfabeto di periferia" Catalogue curated by GIGLIOLA FOSCHI, Rozzano, 2006
"Tende a Infinito", Catalogue curated by STEFANO COLLETTO and MARCO FERRARIS, Fondazione Bevilacqua la Masa, Venice, 2006


Martina Dinato et la magie de la retouche
by Molly Benn@ourageis13.com

MIA 2013
Martina Dinato
by Gigliola Foschi

by Michele Smargiassi
Fotocrazia, Repubblica blog


by Molly Benn@ourageis13.com

Martina Dinato est une photographe italienne, et pour certains, une magicienne. Diplômée de l'Institut italien de photographie de Milan, elle présente au festival Circulation(s) 2014 la série « Magia Fotografia », des photographies familiales retouchées.
Quand on parle de retouche, on pense tout de suite à la photographie de mode ou publicitaire. Pourtant, la photographie de famille a elle aussi son lot de retouches. La série de Martina Dinato montre cet aspect moins connu de la photographie. En confrontant la photo originale, les instructions de retouche et l'image définitive, Martina Dinato propose un étrange voyage entre la réalité et le réel fantasmé, ce réel où la pelouse est tondue sur une photo de mariage...
Le Festival Circulation(s) aura lieu du 7 février au 16 mars 2014 au Centquatre, à Paris. Dans le cadre de cette nouvelle édition, le festival a besoin de votre soutien pour imprimer son catalogue. Retrouvez le festival sur KissKissBankBank. À soutenir et relayer !


MIA 2013

Martina Dinato
by Gigliola Foschi

"Here, I make all things anew... since the all ones are gone by": so we read in Revelation by St. John, in the lines which describe the world renewed by God; the new creation which will come up at the end of the times, when all the sufferings of our world will be wiped out.
It's strange to say, but an echo of these prophetic word seems to go through Martina Dinato's works, even though her pictures show us only the common, humble state of every-day's life. We see indeed simple-hearted family photos, which have been touched up, or old lamp-posts lost in the suburbs, and also poor-looking neglected rooms... and still we can find the same theme, which joins together all these images, apparently so different. It is the theme of rebirth, the awakening to a new life, the coming out of the darkness and the opening to a bright revelation,
the gift of a new appearance that overcomes the bleak features of the past.
So, in the series Volti di periferia, we see battered old street lamps and poles display almost luxurious robes, thanks to the creeping plants which have wrapped them around. So now, these old artefacts, covered and embraced by the greens as they are, seem looking at us with a new poetic, almost smiling appearance.
Like for the series Le porte regali ("The Royal Doors"), the darkness of some crumbling rooms is inundated by the brightness of a light that breaks through right-angled windows, opened on an external world, verdant like a promised land.
The so-called "Royal Doors" or "Paradise Doors" are the two panes that, in the Orthodox churches, allow only the priest to pass through and reach both sides of the iconostasis. Therefore these doors establish a passage between the sacred and the profane, between the human world and God's world. During the liturgy, whenever the priest opens the "Royal Doors", he washes with holy light the obscurity of the church, where the congregation is assembled.
In the same way, we can observe in Porte regali by Martina Dinato, a soft, vague, gentle and blessed light which, coming in, reveals a new horizon to some places otherwise doomed to be prisoners of an oppressive past.
But does it not happen the same for the merry album Magia fotografia? Now we are in the ordinary world of family pictures: defective images of a past time which needs to be retouched, modified through photoshop, in order to appear as a living, lovable memory.
The author shows us these unpretentious souvenir pictures taken by common people, before and after the additional touches customers themselves asked from her. In that way she points out the passage from the true but faulty witness of a recollection to the new offer of the same recollection, however made-up, and for that reason transformed into a fascinating one. So, suitably adjusted, these souvenir images can now recall the dreams, feed the wishes, open ourselves wide to the future. As we said at the beginning, "the old things", with all their defects, rise again as "recreated things", as a new blessed world,
thanks to the loving touch of Martina Dinato: an artist who can transform neglected spaces into enchanted places.



by Michele Smargiassi
Fotocrazia, Repubblica blog

Martina the magician opens again the eyes. Martina the witch makes disappear the clothes hanging out. Martina the fairy clears in a flash, like Mary Poppins. Martina the witch takes off heads and hangs up them again. Martina does all the magic that you ask, and the world goes back to being what the fairy mirror of the camera had promised, but failed to keep. Because the world is not as it should be.
Life is not behaving as it should, as we expect from her.

The reality is a big troublemaker. There's always that girl who sneaks into the frame, behind, no one see her but then you find her in the album. There is always that moment of distraction, and here you seem asleep. Or that disease which takes you away from the circulation exactly on the day of the photo group with the team. There are all those empty bottles on the table that do not seem such intrusive when you were there. Damn, all the good memories are ruined.
Instead photography is nice. Obliging. Photography punishes the rude reality, and always puts things in place.
We should live in photographs. But thinking about it, we can do it.
Everyone can have the access to photofantasy, even those with little experience of editing, because there are professional like Martina Dinato who know how to do it, and they do it for everyone. Photoshop isn't only for the stars, for the chanteuses on the covers of magazines who need to stroke their skin, to lift their tits and cut off a slice of their bottom. Today photography is democratic, it guarantees to everyone the restoration of the dream, the suppression of life's accidents.

Martina Dinato is a freelance photographer of art, advertising and fashion that gains experience working in the family photo lab for a long time. She was assigned to retouches on commission. Desperate grooms came to her, and thanks to her, they went away happy. It takes so little, a small electronic brush, a click of the mouse, and the bad tooth turns white, not even a spot, and the baby’s closed eyes are reopened, and underpants lying in the background fade away, and everything is perfect as it should be.
Martina has preserved (with the consent of the clients) those jobs on commission.
In the two versions, before and after the cure. She made an album (look at it here), a true conceptual art project, where each diptych has the title the request that customers wrote nervously on the envelope or on the back of the photo: "Open eyes girl", "Add the pictures of the two girls in the volleyball team", "Remove lady behind the door", "Making a tooth", "Remove underwear hanging on the back", "Remove bottles glasses just leave flat board" and also "Remove witch on the right", here we clearly understand how much newlyweds, kissing so passionately on the convertible, had pissed off, later, seeing the picture with the interloper. That’s it, tooth, eyes, lady, underwear, all right. Martina doesn’t kidding, she doesn’t criticize or judge her customers, in fact she feels like a benefactor, a surgeon of the wounded memory, a wonderworker of the unsafe memories. A good fairy.

But it is also a thinker photographer and she reflects on the desire and on the private use of the photography, where a new need emerges: the un-approval of the present moment in the moment of the shoot, the rejection of the "was" of the classic photography, which was perhaps its main charm, and his magical transformation into an abstract moment. [...] We ask photography what was wondering to the shaman of the steppe: the elimination of negativity and noise reduction. To photography is asked to open eyes that were closed, a request that was of the blind man of Jericho.

Magic and even holiness of mutant photography mutant. Judoka wanted to be alone: and so all the others were expelled from the mat, and they were three. And those two gentlemen, man and woman, I understand, they wanted a portrait of the couple and not of the group, but what was the need to remove the palm tree behind?
It was not bad. Or seemed to be a barrier between them? Mysterious idiosyncrasies of private iconology. Some customers seems to have gone much further, finding that the photograph of the digital age has an easy reversing: it can create also a picture that was not, the missing photo, the missing memory (Kodak’s first commandment: "A picture that you don’t do is a memory that you don’t have").

Why, for example, the head of the "big sister photo 1 must replace the one of the same sister (but taken a year earlier) of photo 2"?. Apparently mother didn’t like the haircut that her first daughter had in the day of the sister’s first birthday, and preferred the anachronism. But then, now that I think about it, how does the "witch on the right" should feel knowing that she was eliminated from the picture? And the girl with the stray head, did not have the right to have the head that she had when her little sister turned off a single candle? And that one with her eyes closed, if she was bored, or sleepy, with which right she is forced to participate, to open their eyes, to show partaker of that boring ceremony like "oh mom let’s go home"? Are these corrections even impositions of character, behavior, a kind of plagiarism?

But above all, Martina says well: now that we know that you can ask photography to create a perfect past, we will ask it again to record a defective prosaic present? Unnecessary questions. The "digital revolution" has totally changed the regime of truth of photography, so everybody say, and we must resign, and purists and reluctant to retouch photographers, still loyal to the idea that photography is a clue to reality, they are now considered "fanatics", as a successful photographer wrote about them, that they will be soon "isolated and starved by customers who deserted their studies for an enthusiastic rush to those who promise portraits in which rigors of the photographic accuracy are deleted and ensures a benevolent and flattering record, generous with corrections and embellishments".
Sorry, I did a little of confusion.

This quote by photographer Giuseppe Enrie, photographer of the Holy Shroud, is dated 1931.



Born in 1978 in the province of Padua, she works as a freelance fashion photographer. In 2009 she open your Photographic Studio.
She graduated in graphic and studied at the Italian Institute of Photography in Milan.
In 2006 she had his first collective exhibition: Tende a Infinito by S. Colletto and M. Ferraris, Fondazione Bevilacqua La Masa Venice and exhibits the collective Remake, En Plein Air Gallery, Pinerolo, Turin.

In 2007, the Fondazione Bevilacqua La Masa from Venice, assignes a PRIZE BURSARY and presents her first solo: Faces in the suburbs.
In 2009, exposes her personal in the Project Area of Galleria Civica di Modena: "Uncertain reality",
edited by S. Goldoni, S. Ferrari, O. Corradini and A. Vettese.
In 2010 she invited in collective exhibition EUROPEAN PHOTOGRAPHY 2010 The Enchantmen,
curated by Elio Grazioli and Gigliola Foschi, Reggio Emilia.

In 2011 her project Magic Photography is curated and published by Michele Smargiassi in FOTOCRAZIA OF "REPUBBLICA".

(from the European Photography Festival of Reggio Emilia)
with the jury composed by: Peggy Sue Amison, Carine Dolek, Miha Colner, Elina Heikka, Gigliola Foschi and Laura Serani.



MIA, Milan Image Art Fair, Milan

Magia Fotografia, published and curated by Michele Smargiassi, FOTOCRAZIA, OF REPUBBLICA

Work to Work, curated by Elena Privitera e Marco Filippa, EN PLEIN AIR GALLERY, Pinerolo, Turin
Openspace opps, GALLERA EN PLEIN AIR, Pinerolo, Turin
EUROPEAN PHOTOGRAPHY 2010, The Enchantmen, curated by Elio Grazioli and Gigliola Foschi, Reggio Emilia.

Personal Exibition in the Project Area of GALLERIA CIVICA DI MODENA, edited by Serena Goldoni, Silvia Ferrari,
Ornella Corradini e Angela Vettese


92 EDITION BEVILACQUA LA MASA , BURSARY PRIZE edited by Angela Vettese, Venice
Lorenzago Aperta curated by V. Vecelio, Lorenzago, Belluno
Realtà Contemporanea, SCALAMATA GALLERY, Venice

91 EDITION BEVILACQUA LA MASA curated by Angela Vettese, Venice
QUOTIDIANA, Ex Macello space, curated by S.Schiavon e G.Bartorelli, Padua

Il Senso Del Viaggio ( The sense of Travel), curated by Andrea Dall'Asta e Angela Madesani, S.FEDELE GALLERY, Milan
Alfabeto Di Periferia (Suburbs Alphabet) curated by Gigliola Foschi, Cascina Grande, Rozzano
Segnali (Signal) curated by Stefania Schiavon e Guido Bartorelli, Palazzo Liviano, Padua
Tende a Infinito curated by Stefano Colletto e Marco Ferraris, Fondazione Bevilacua la Masa, Venice