Matteo de Mayda

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	<title>Matteo de Mayda</title>
	<link>https://matteodemayda.com</link>
	<description>Matteo de Mayda</description>
	<pubDate>Fri, 10 May 2024 05:39:51 +0000</pubDate>
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		<pubDate>Wed, 02 Oct 2019 15:23:30 +0000</pubDate>

		<dc:creator>Matteo de Mayda</dc:creator>

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		<title>Brilla Sempre</title>
				
		<link>https://matteodemayda.com/Brilla-Sempre</link>

		<pubDate>Sun, 21 Apr 2024 20:11:05 +0000</pubDate>

		<dc:creator>Matteo de Mayda</dc:creator>

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		<description>Brilla Sempre
	
My mother passed away on March 28, 2023, after eighteen years of illness. Her name was Serenella.

Her identity card listed her as a “cleaner.” She earned a living cleaning buildings—stairs, courtyards, parking lots—in Treviso, our hometown in Northeast Italy. She would clean tirelessly, then come to pick me up from school on her Ciao moped, the kind you had to pedal to start. She rotated a series of identical tank tops, a sort of uniform. I remember her, glowing with sweat and happiness.

In the months after her death, I photographed the places where she had worked, places she had also taken me to as a child. It felt like group therapy: the building managers were the therapists, the residents their patients. Each of them had a fond memory of her.


↓ In basso la versione originale, in ITALIANO ↓
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	ORDER&#60;img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/30aacda4f27d377062f041a86a6affedb629f7beb7ed8713657186fff4b1fc05/Brilla-Sempre_Cover_fronte_centro.jpg" data-mid="240154256" border="0"  src="https://freight.cargo.site/w/1000/i/30aacda4f27d377062f041a86a6affedb629f7beb7ed8713657186fff4b1fc05/Brilla-Sempre_Cover_fronte_centro.jpg" /&#62;
TALKS &#38;amp; SIGNINGS
MUFOCO - Museo Fotografia Contemporanea
bruno, Venezia
Micamera, Milano
Leporello, Roma
Spazio Labò, Bologna
	PUBLICATIONS
Marie Claire Italia
Il Sole 24 OreRECOGNITIONSSelected as one of the best books of 2025 by Internazionale

PORTFOLIO
In collaboration with Micamera
PODCAST
Read by Luca Bizzarri


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	Mia madre se n’è andata il 28 marzo 2023, dopo diciotto anni di malattia. Si chiamava Serenella.Nella carta d’identità era definita “pulitrice”, perché ha sempre pulito i palazzoni, le scale, i cortili e i parcheggi di Treviso. Puliva senza risparmiarsi, poi veniva a prendermi a scuola con il Ciao a miscela che si accendeva pedalando. Alternava una serie di canottiere tutte uguali, come una sorta di divisa. La ricordo sudata e felice.Nei mesi successivi alla sua morte ho fotografato i suoi luoghi di lavoro, dove portava anche me quando ero piccolo. È stata come una terapia di gruppo, dove al posto della terapeuta c’erano gli amministratori di condominio e al posto dei pazienti gli inquilini, con un ricordo generoso su di lei.Rivisitando quegli spazi ho provato ad osservare con i suoi occhi le tracce lasciate dalle vite degli altri, in quello spazio e in quel tempo di passaggio. Mi sono immaginato le sue preoccupazioni: una passata di mocio per ogni rata del mutuo della nostra casa di Santa Bona, uno zerbino arrotolato per ogni senso di colpa reciproco. Gli sgabuzzini avevano lo stesso odore dei primi anni del 2000, quando si incazzava perché mi fumavo le canne di fronte a lei, combattendo con il silenzio la mia ribellione adolescenziale. Anziché sfogarsi su di me, prendeva uno spazzolino da denti e puliva le fugature tra le piastrelle di casa, una a una. Come palliativo temporaneo per tenermi occupato mi aveva acquistato un soffiatore di foglie a benzina, e in parte aveva funzionato.In questi mesi l’ho cercata in quelle rampe di scale che non si incontrano e negli androni funzionali vuoti. L’ho incontrata nelle ripetizioni dei pianerottoli, uguali ma un po’ diversi su ogni piano, finendo per confondere le nostre linee temporali.La confessata fragilità del suo istinto materno si trasformava in voce ferma quando si parlava di lavoro come cura, come definizione di sé. Sarà che siamo veneti e che siamo cresciuti con quest’idea.Quando ho interrotto gli studi mi ha accompagnato a bussare ogni porta per trovare impiego: i pub, il mercato ortofrutticolo, l’autolavaggio, le stagioni a Jesolo. Mi mandava avanti da solo, ma era dall'altra parte della strada a controllare, dall'altra parte del telefono a rispondere. L’attitudine al lavoro che mi ha lasciato è un’eredità non scritta nel testamento.
Non avrei potuto presentarmi nei palazzoni con la camera al collo senza permesso, così per ogni luogo ho cercato un punto di contatto: un amministratore, una vecchia amica, un ex compagno di scuola che abitassero lì. Ho fatto una lista e, come in un pellegrinaggio tra luoghi sacri, lì ho visitati tutti. Quando ho esaurito le mie risorse, ho chiesto aiuto alle zie e ci siamo resi conto di conoscere quasi esclusivamente i condomini dove lavorava in nero, perché sono quelli che, nel momento della malattia, non erano coperti dalla previdenza sociale. E anche lì ho riconosciuto un po’ del nostro essere veneti, con i pianerottoli igienizzati e la polvere sotto il tappeto, dietro la porta blindata.
Fervente credente nella religione del darsi da fare, mia madre ha trasformato la sua malattia in ricerca continua. Nella sua inquietudine pacata, cercava di comprendere mettendosi sempre in discussione: il telefono amico, lo yoga, le letture, la meditazione. Diciotto anni di lezioni e cadute a cui dava sempre un senso. La positività mai esaurita e la gratitudine sempre, anche nei suoi ultimi giorni di vita: per noi, per l’oncologa, per gli infermieri, per le amiche.
Prima di essere ricoverata per l’ultima volta aveva cucinato e surgelato piatti fino a riempire tutti gli scompartimenti del freezer di casa sua, sapendo che avrei dovuto passarci molto tempo da solo. Erano colmi di ragù in bicchieri di plastica, vaschette di gelato, lasagne, minestrone, bistecche e funghi, tantissimi funghi da Possagno. Dopo la sua morte ho centellinato i piatti che mi aveva preparato per farli durare il più a lungo possibile, sono andato avanti per diversi mesi. 
Queste fotografie sono per me quel cibo, utili ad immobilizzare quello spazio e quel tempo che hanno definito le nostre vite, per continuare a nutrirmene.


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		<title>The New York Times assignments</title>
				
		<link>https://matteodemayda.com/The-New-York-Times-assignments</link>

		<pubDate>Sat, 02 Oct 2021 14:54:24 +0000</pubDate>

		<dc:creator>Matteo de Mayda</dc:creator>

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		<description>The New York Times&#38;nbsp;assignments
	
A selection of assignments that I covered for The New york Times

	
	PUBLICATIONSThe New York Times


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</description>
		
	</item>
		
		
	<item>
		<title>The Passenger, Venezia</title>
				
		<link>https://matteodemayda.com/The-Passenger-Venezia</link>

		<pubDate>Sun, 21 Apr 2024 19:39:00 +0000</pubDate>

		<dc:creator>Matteo de Mayda</dc:creator>

		<guid isPermaLink="true">https://matteodemayda.com/The-Passenger-Venezia</guid>

		<description>The Passenger, Venezia
	
The Passenger, Venice" is a book published by the Iperborea that gathers 10 narrative essays forming the story of the life of a place and its inhabitants, aiming to understand its culture, processes, new identities, discourses, issues, problems, and wounds. Fragments that, together, compose its portrait. Venice, often perceived as immutable, faces significant changes and represents contemporary crises. The city confronts declining population, rising sea levels, and the challenges of overtourism. However, Venice finds strength in its resilient history, active civil society, and student population, advocating for sustainable solutions and environmental preservation.

	
	BOOK
The Passenger, Venezia (Iperborea)


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</description>
		
	</item>
		
		
	<item>
		<title>La Repubblica democratica del tondo</title>
				
		<link>https://matteodemayda.com/La-Repubblica-democratica-del-tondo</link>

		<pubDate>Fri, 10 May 2024 05:39:51 +0000</pubDate>

		<dc:creator>Matteo de Mayda</dc:creator>

		<guid isPermaLink="true">https://matteodemayda.com/La-Repubblica-democratica-del-tondo</guid>

		<description>La Repubblica democratica del tondo
	
The roundabout is an institution of direct vehicular democracy; it is the realization of egalitarian utopia on the road; it is a place where all motorized vehicles can access without discrimination of sex, race, language, religion, political opinions, personal, and social conditions. The roundabout is responsibility, participation, freedom. It is the Democratic Republic of the Roundabout. Traffic lights, on the other hand, treat us like foolish subjects. They impose stopping and moving with the bureaucratic monotony. The roundabout is a step forward: it establishes two simple rules – those outside wait, those inside proceed – and lets everyone regulate themselves. It is no coincidence that the first modern roundabout, the Columbus Circle in New York City, was born in 1903, a few years before Maria Montessori opened her children's house in Rome. The roundabout is finely pedagogical.

Text by Emanuele Galesi, continue below...
	
	PUBLICATIONS
Urbano Magazine
Marsèll


	&#60;img width="2000" height="1429" width_o="2000" height_o="1429" data-src="https://freight.cargo.site/t/original/i/31f8a753dc73b8b533b09f9c1357b013f101dc9cd36e18a7a6ac192f80a230ce/deMayda-1.jpg" data-mid="210637041" border="0"  src="https://freight.cargo.site/w/1000/i/31f8a753dc73b8b533b09f9c1357b013f101dc9cd36e18a7a6ac192f80a230ce/deMayda-1.jpg" /&#62;
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	... 
Matteo de Mayda knows roundabouts well. Born in Treviso around the mid-1980s, he saw them proliferate during his youth, in the joyful Veneto that scattered its artifacts, from warehouses to commercial hubs. As a son of the motorized Northern Macroregion, he knows that the profound meaning of the roundabout is not vehicular, but spatial. It is space created from nothing, it is the island that wasn't there before and is now, and as such, it must be colonized. How? From the artificial vine tendrils in Vicenza to the colossal sphinx in Turin, the Macroregion is dotted with works that guard these atolls in the sea of asphalt. Monuments dedicated to industry, music, road safety, or even olive trees, hedges, or palm trees: without a predetermined plan, roundabouts have also become means of mass communication.When two years ago de Mayda found himself in front of the Algerian roundabouts around the city of Tindouf, he felt at home. It's like when we meet one of our compatriots abroad: maybe it annoys us a little, but it still excites us. He was traveling through the refugee camps where the Sahrawi are hosted, a population that has mostly lived far from their own land for forty years, occupied by Morocco. They are stationary refugees; in Algeria, they have rebuilt a community in exile of 150,000 people. An organized community, but one that still needs international aid to sustain itself. In the midst of the desert, along the roads connecting the different camps, the photographer is struck by a first sight: two teapots with as many cups, set in the middle of a roundabout surmounted by a large brazier. Tea in the desert, between cinema and Saharan tradition, it's hard to imagine something more didactic. But on the road, there is more: after the teapots, here come three thin crossed poles, from which hangs an indistinct shape of which the animal nature is intuited. The locals explain that the dangling sack is a gherba, a goatskin bag used to carry water during journeys across the Sahara. The third roundabout requires further interpretative effort: geometric figures, elegantly decorated, embellish a landscape of sand, pylons, and distant low buildings. What are they? They are traditional jewels and they fit perfectly into the identity that marks the streets of the place. De Mayda is undergoing an intensive course of local customs and traditions, without explanatory signs and without the classic museum. Those who know, recognize and recognize themselves, while those from outside need to be guided through the symbols. The effect is alienating and reaches its peak with the roundabout where two blue hands clasp in a gesture of cooperation, help, peace, on a base decorated with white doves. The opposite of the experience of those living in the camps around Tindouf, settlements resulting from a war that has never ended.

Between 2019 and 2020, de Mayda is in another former French colony, the Central African Republic, to document Italian cooperation projects in a country leading the poverty rankings, whose capital, Bangui, is cited among the most dangerous cities in the world. The scenario is completely different; from the contemplative climate of the desert, we move to a chaotic movement of men and vehicles, with a constant: the roundabout. Or rather, the monumentalized roundabout, no longer in a folk key, but from a national and institutional perspective. Popular tradition here is replaced by political and social themes, with direct references to the values and history of the country. In front of a telephone shop, whose products are tattooed on the facade, a roundabout hosts a tower with a message for the city and the world: "Work is the only path to development." Under the inscription, you can see the statue of a man walking, holding what at first glance seems like a briefcase, but is actually a clock. There is an air of real socialism, although much softened. On the other hand, work is also in the state's official motto: "Unity, dignity, work." The use of the roundabout for citizen education is even clearer in the one dedicated to the founding father of the Central African Republic, the political leader and priest Barthélemy Boganda, a protagonist of the years around independence from France, definitively achieved in 1960. Boganda's bust, who died in 1959 in a mysterious air crash, is accompanied by five programmatic verbs: "Feeding, clothing, providing shelter, healing, educating." And then, there are other symbols of a still relatively young state: a Christian cross, as most of its 4.8 million inhabitants are Christians, occupies the roundabout elevated to the rank of square and dedicated to the former French president Valéry Giscard d'Estaing; an obelisk dedicated to the martyrs of the nation, namely the about 150 people killed during the 1979 riots against dictator Jean-Bedel Bokassa, which broke out after the imposition of a new and expensive school uniform in the country's schools. Finally, also here, a dove of peace. White, a couple of meters long, it rises above a bust of the former president of Gabon, Omar Bongo, considered a peacemaker of the different Central African ethnic groups. In the series of historical recurrences, the large dove of the monument to national reconciliation flies over posters advertising the new uniform of the national gendarmerie: it is blue and in this case it seems to have been accepted without protests.


</description>
		
	</item>
		
		
	<item>
		<title>The First Time in Qatar, North Macedonia, Iceland (2018-ongoing)</title>
				
		<link>https://matteodemayda.com/The-First-Time-in-Qatar-North-Macedonia-Iceland-2018-ongoing</link>

		<pubDate>Tue, 08 Jun 2021 04:51:18 +0000</pubDate>

		<dc:creator>Matteo de Mayda</dc:creator>

		<guid isPermaLink="true">https://matteodemayda.com/The-First-Time-in-Qatar-North-Macedonia-Iceland-2018-ongoing</guid>

		<description>The First Time in Qatar, North Macedonia, Iceland (2018-ongoing)

	
					The First Time is a long-term project conceived by Matteo de Mayda and Cosimo Bizzarri aimed at exploring football and the way it shapes culture, politics and identity in nations who participate for the first time in a major international tournament.

Rather than focusing on the technical sides of the game, The First Time looks at football as a social phenomenon, with an angle that could appeal to sport fans but also to the general public.

So far, The First Time was produced in Iceland ahead of Russia 2018, to North Macedonia before EURO 2020 and to Qatar ahead the 2022 World Cup.

Each chapters of The First Time works autonomously, but also as part of a large investigation about football in remote countries that we would like to turn into a book and an exhibition.

	
	PUBLICATIONSThe New York Times (USA), The Financial Times Magazine (UK), Rivista Undici (ITA) SoFoot (FRA), Der Spiegel (GER), 6Mois (FRA, British Journal of Photography (UK), Sportweek (ITA), Victory Journal (USA), Creative Review (UK), Libération (FRA) FOCUS Magazin (GER), Aftenposten Innsikt (NOR) L'Obs (FRA), T - Le magazine du Temps (SWI), Les Echos Week-End (FRA), Reporters Without Borders (GER), SHUKYU Magazine (JAP), So Foot (FRA) Internazionale (ITA)

EXHIBITIONS
Museum of Contemporary Photography, Milan (ITA)

Traveling exhibition in North Macedonia organized by the
Italian Embassy (MKD)


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&#38;nbsp; &#38;nbsp;


</description>
		
	</item>
		
		
	<item>
		<title>There Is No Calm After The Storm</title>
				
		<link>https://matteodemayda.com/There-Is-No-Calm-After-The-Storm</link>

		<pubDate>Mon, 28 Jun 2021 21:02:56 +0000</pubDate>

		<dc:creator>Matteo de Mayda</dc:creator>

		<guid isPermaLink="true">https://matteodemayda.com/There-Is-No-Calm-After-The-Storm</guid>

		<description>There’s no calm after the storm
	
An extreme weather event hit north-eastern Italy in October 2018. The Sirocco wind blew up to 200 kilometres per hour through the Dolomite valleys, knocking some 14 million trees to the ground. The incessant rain caused torrents to overflow, dragging logs and debris downstream. Overnight, the inhabitants of a number of mountain communities in Trentino, Veneto and Friuli-Venezia Giulia found their cellars flooded and even their houses torn apart by the winds.

More than five years later, the consequences of storm Vaia are still visible and tangible. The slopes of various mountains are barren. The remaining forests have been invaded by the spruce bark beetle: a parasite that feeds on wood. Without the plants, there is no protection against landslides and avalanches. While experts and locals are rolling up their sleeves to try and bring the situation back to normal, the total economic damage has been estimated at three billion euros.Produced in collaboration with journalist Cosimo Bizzarri, the TESAF and DAFNAE departments of the University of Padua and the ISPA Grant 2021, There’s no calm after the storm investigates the long-term consequences of an extreme weather event and the fragile balance between human action and the resilience of ecosystems.


	ORDER
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AWARDSGabriele Basilico Prize 2025
ISPA Grant WinnerSelected book of 2024 by Internazionale
EXHIBITIONSFotografia Europea

Gibellina Photo Road Festival

Cripta 747 (in collaboration with CAMERA)Istituto Italiano di Cultura in Montréal 


PUBLICATIONSInternazionale
il Post
Society
Lucy sulla cultura
Rivista Studio
ElleAtlas Aquæ (Osservatorio Mobile Nord Est)


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ORDER THE BOOK&#38;nbsp;
&#60;img width="2000" height="1594" width_o="2000" height_o="1594" data-src="https://freight.cargo.site/t/original/i/87bfbc7dac836f487af7909dd9ccd02044793caf7611b55118012f9b39ca2b24/deMayda-1.jpg" data-mid="219936141" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/87bfbc7dac836f487af7909dd9ccd02044793caf7611b55118012f9b39ca2b24/deMayda-1.jpg" /&#62;Matteo de Mayda
There’s no calm after the storm

Edited by Cosimo Bizzarri
Design and publication by bruno
Cover by Daniel Greenfeld
Photo editing by Daria ScolamacchiaImage toning by Melissa Pallini
Printed by Grafiche Veneziane in October 2024&#38;nbsp;

144 Pages
17x22 cm
Hardcover, cloth-bound, with silk-screen printing


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FOTOGRAFIA EUROPEA EXHIBITION VIEW

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</description>
		
	</item>
		
		
	<item>
		<title>Lio, Clodia and Malamocco</title>
				
		<link>https://matteodemayda.com/Lio-Clodia-and-Malamocco</link>

		<pubDate>Sun, 21 Apr 2024 15:53:11 +0000</pubDate>

		<dc:creator>Matteo de Mayda</dc:creator>

		<guid isPermaLink="true">https://matteodemayda.com/Lio-Clodia-and-Malamocco</guid>

		<description>Lio, Clodia and Malamocco
	
I choose to start the journey from the furthest mouth from home: Chioggia (Clodia). From Castello, Sarah and I took a Vaporetto that brought us on a bus which was then loaded onto a larger boat. In this setting, we travelled along that 21-kilometre-long and 300-metre-narrow strip of land that brings straight to Chioggia after a two-hour journey. 


Continue below...
	
	PUBLICATIONIUAV University of Venice -&#38;nbsp;WAVE

	
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	...
There, we found huge breakwaters crushing the strength of the waves and bright rust left on the rocks by time and tides. On one side of the Sottomarina breakwater, we could see the salty waves of the Adriatic Sea, on the other side, the brackish water of the lagoon.

After the sunset, we headed towards the Malamocco mouth where we stopped for one night of little rest and many mosquitoes. At dawn, we reached Alberoni beach, on the opposite side of the mouth. There a seaweed foil was covering the rocks, as if to protect them, and cruises were floating on a grass sea while reaching Porto Marghera.
In reverse, the last place to reach was the Lido mouth (Lio) where we arrived cycling from Punta Sabbioni through the seafront, till that roundabout for rotating dervishes van.It was too early for tourists to be on the beach, they were replaced by an array of sandpipers with hundreds of their drawings left on the sand. Sarah, looking at the bus going to the club Il Muretto, highlighted the tedious look of boys dressed in shirts compared to girls, each accessorised in their way. 
“Acqua in bocca” means to drown, it is a secret, but to the lagoon it is breath, it is voice. The three mouths are together access and exit, they are limit and togetherness, detachment and encounter. Within that gurgling of sense and contradiction, one month ago we scattered the ashes of my mother, on the fortieth day when – according to different cultures – the soul greets the earth. In many beliefs, the sky embraces the souls of those who leave. For us, it was the water.
-
A project commissioned by IUAV - University of Venice, for the book Waves

Edited by Francesco Bergamo, Pietro Costa, Jacopo Galli, Andrea Iorio, Saul Marcadent, Federica Rossi, Daniela Sacco

Graphic Design and published by bruno, Venezia
Printed by Grafiche Veneziane
	
	
</description>
		
	</item>
		
		
	<item>
		<title>Una Barena Intera</title>
				
		<link>https://matteodemayda.com/Una-Barena-Intera</link>

		<pubDate>Sun, 21 Apr 2024 16:41:25 +0000</pubDate>

		<dc:creator>Matteo de Mayda</dc:creator>

		<guid isPermaLink="true">https://matteodemayda.com/Una-Barena-Intera</guid>

		<description>Una Barena Intera
	
The Venice Lagoon is one of the most important areas for birdlife throughout the Mediterranean, hosting over 200,000 water birds of 60 different species. The birds take refuge on the 'barene,' forms of mud periodically submerged by tides, which constitute one of the most characteristic and fragile environments of the Venetian ecosystem. They are essential for the lagoon as they have a purifying effect, filtering the lagoon water, and provide a habitat rich in biodiversity, offering shelter and nourishment to many species of flora and fauna.


Continue below...
	
	EXHIBITIONSCAMERA - Centro Italiano per la Fotografia, TurinMAD Murate Art District, Florence
Panorama, Venice

	
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	...However, the lagoon is currently threatened by a severe process of erosion, caused by the diversion of rivers and the modification of port channels for commercial and tourist purposes. The rise in sea levels due to climate change further exacerbates the current imbalance, threatening to transform the lagoon into a bay of the sea. It's worth noting that the Mediterranean is among the basins warming most rapidly on the planet today, with serious consequences for marine ecosystems.
The archival images feature a selection of birds from the Alinari Archives, photographed by F. Coburn around 1890, with studio reconstructions of their original environment. The bird photos are juxtaposed with contemporary images of the barene in the Venice Lagoon, taken by Matteo de Mayda in 2023.The project aims to emphasize the fragility of an ecosystem threatened by human action, questioning the coexistence between mass tourism and the survival of birdlife in a symbolic area of the planet. The dialogue between past and present inevitably compels us to reflect on the future of the lands we inhabit.
For this project, author Matteo de Mayda enlisted the scientific expertise of ornithologist Alessandro Sartori and the NGO We are here Venice. In the search for images, he was assisted by archivists from the Alinari Foundation for Photography and curated by CAMERA Torino.
	
	
</description>
		
	</item>
		
		
	<item>
		<title>COVID-19: Vo', a community goes to test</title>
				
		<link>https://matteodemayda.com/COVID-19-Vo-a-community-goes-to-test</link>

		<pubDate>Thu, 30 Apr 2020 11:48:03 +0000</pubDate>

		<dc:creator>Matteo de Mayda</dc:creator>

		<guid isPermaLink="true">https://matteodemayda.com/COVID-19-Vo-a-community-goes-to-test</guid>

		<description>Vo', a community goes to test


	The story of the community of Vo’, a small town in Northern Italy that has become an open air lab to study and fight COVID-19.Vo’ is a small town in Veneto, Northern Italy, in which the first European victim of COVID-19 was registered. By testing all its inhabitants early on, it has managed to stop the contagion and has now become a living laboratory to study the coronavirus.

Back in February, Vo’ was the first area in Italy to be declared a red zone, together with Lodi and Codogno. For two weeks after the discovery of the first case of COVID-19, nobody was allowed in and out of the town.Andrea Crisanti, full professor of Microbiology
at the University of Padua, was quick to react. He offered to test all 3,1000 citizens of
the town, and 95% of the population agreed to participate in the experiment. Such a
thorough investigation of an entire population
was unprecedented.
 

(text continues below the images)
	
	PUBLICATIONSThe Washington Post (USA)

Internazionale (ITA)

The Sunday Times Magazine (UK)
Society Magazine (FRA)

Die Zeit (GER)
CBS News (USA)
British Journal of Photography (UK)

Rivista Studio (ITA)
Der Spiegel (GER)
La Repubblica (ITA)
Il Sole 24 Ore (ITA)Folha de S.Paulo (BRA)
Vice UK (UK)
Il Manifesto (ITA)
BuzzFeed (USA)


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					Around 100 were found to be positive and asked to isolate at home. A few weeks later, a second round of testing showed that those people had overcome the disease and the virus had virtually disappeared from the town. Dozens of lives had been saved and, while the rest of the country was struggling to contain the virus, Vo’ had virtually become the healthiest place in Italy.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
In early May, a third round of testing was performed by Crisanti and Merigliano, with the aid of around sixty volunteers per day, coming from the town and surrounding area. This time, in addition to saliva and nasal swabs, the inhabitants underwent a blood test that will reveal if their immune system has developed antibodies against the virus. This is data that any epidemiologist in the world would want to get their hands on. 

In November Andrea Crisanti asked t the 160 citizens who had an antibody
response to Covid-19 to have a new blood
test to check their antibodies strength, six
months later. This information is important to
understand how long immunization lasts and
also regarding the vaccine development.

					
In the future, Crisanti’s work could help save
thousands of lives at a global level. This would
not have been possible without the goodwil of the citizens, who also agreed to provide
personal data and other sensitive information
for the sake of the research. 
The story of Vo’
is one of a community coming together to
save itself and help humanity make one
step forward.

				
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