28/09/2012

Saorge – Where Time Stands Still

Saorge – Where Time Stands Still

From silence to silence. What in the past was a Franciscan convent, has today turned into a residence for writers searching for inspiration. This monastery is a recommended destination for people who want to try the bittersweet taste of isolated places and loneliness. Built between 1633 and 1662, Saorge, with the 500 souls living in small houses clinging to the Maritime Alps, deep in the southern France, to the eyes of an addicted crowded destinations traveller this place comes first as a shock, then a discover.


It seems that this district is known as “the French Tibet”. Similarity doesn’t arise just from the matter of altitude – Saorge is situated barely 500 meters above the sea level – but also from the peaceful and contemplative atmosphere of the town and the monastery. It towers over the valley as Potala Palace does with Lhasa, the capital of the centre of the world.

The interiors of the monastery are essential. Everything – from allegorical frescoes of refectory to the ancient Notre Dame des Miracles, the baroque church in which many religious functions were celebrated – evoke images of simple and laborious Franciscan kind of day.

When the friars left the convent in the 90′s – after almost four centuries from its edification, during which it has been used even as a hospice – , it accommodates writers, translators and composers searching for inspiration. Everybody here lives in the way of the friars: guests eat vegetables cultivated in the kitchen garden, sleep in cells furnished with the bare minimum – a bed, a wardrobe, a night table – and use common showers. Sometimes the inhabitants of Saorge go to the monastery to meet foreigners to discuss about culture, to join debates and public lectures. They speak softly, as if there were someone to keep asleep. This is the monastery of Saorge, a small hermitage in which peace and silence are preserved.

Antonio Leggieri

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13/07/2012

The Lords of Dancalia Valley

The Lords of Dancalia Valley

There are many destinations appealing voyagers in Africa, even if they are considered too dangerous and inconvenient to get to. The volcano Erta Ale is among them, with its lava lake and the spectacular saltpans of Dallol, along with the legendary hostility of the Afar, the lords of Dancalia valley.

Forget everything you already know and prepare yourself to discover a desert made of lava, stone, salt and rock. We are about to enter an area that seems to belong on the moon, inhabited by thin people – the Afar – , who scamper and smuggle between Ethiopia and Eritrea, taking aim with their Kalasnikovs, the symbolic gift received as a proof of their passage into adulthood, at around 13 years of age. Dancalia, largely belonging to Ethiopia, is divided by a line like a slash of a scalpel, made by European minds intentionally blind to the separation of clans and villages, ignoring freedom, ripping apart families and tribes, and destroying the invisible but valuable bonds between the people.


These malnurished people listen in silence to soldiers of Addis Abeba, who shout them orders with thundering voices and sharp words; to not cross the boundaries and to not smuggle weapons, ammunition and oilcans on their full-packed camels milling around. When the sun goes down, people who are not tied in the salt business take small paths that the Ethiopian army trucks can’t drive.

The Afar people tend to sharpen their teeth to relish the raw flesh of freshly killed prey. Their favorite and legendary motto is “better die than not to kill”. They know perfectly that it’s hard to resist the hell of Dancalia, where the burning sun hits the eyes and melts time, and where there are always soldiers lying in ambush somewhere. Abdo Yahia – a Yemenite moved to Ethiopia at the age of two – and I decided to take the prudent road, and instead of militaries, to take two Afar scouts with us to go up to Erta Ale.

We enter Dancalia from South, following the mythical path of Italian explorers. After three days of traveling, we get to the base camp of Erta Ale. A five-hour nightly climb awaits us. No one ventures the volcano’s side during the day; the temperature of 45° at 10am discourages whoever. The sultriness doesn’t give a respite, not even in the dark. The night finds us leaving at 3am, silent and in an organized line, hearing some gigantic frightened animals far away tremble the terrain. Camels in front of us carry the water while armed Afar people protect us from the threat of the Eritrean raids.


When we get to a huge caldera the sun peeps out and the hollow sound of the mountain scares us. Not far from here, among the coagulated lava sparkling at sunrise, we finally see the incandescent eye of Dancalia. We wait until the afternoon, when the guides finally take us pass hot gas eruptions, molten lava and sharp edges, all the way to the shore of the lake. Liquid stone of 1250 degrees and a drop of sixty meters, a roaring column of lava rises from the belly of the earth.

The temperature is unbelievably high, but the lava lake with its roars, squirts and fumaroles attracts us as the light attracts moths. We stay there until the late night, unable to take our attention away from the “monster” and its hypnotic, dominating eye.

“You should go away now, you are running out of water and you have been too exposed to him” says my scout pointing at the gigantic red mass under us. “It’s too hot,” he urges on, “too hot, and tomorrow we have to go back. Erta Ale does not spare anyone, you know. Last year it ate my cousin, lava surrounded him and started rising… Now we have to go”. Reluctantly, dazed by the exhalations and the heat, I leave that huge energy, but immediately I know I want to return here.


Vittore Buzzi

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28/06/2012

The Smiling Eyes – A Portrait of Malick Sidibé

The Smiling Eyes – A Portrait of Malick Sidibé

“Venice is beautiful, but it misses energy, while here in Africa you could still feel it. Maybe less than in the past since young people are more lonely today, but they are finding themselves again. My pictures are made of these feelings; joy and youth.”

Malik Sidibé puts off his black glasses, his face lights up and a broad smile full of life rises on it.

I’ve tried to get in contact with him four years ago, when I was in Bamako for work. I would have liked to interview him, but he wasn’t in Mali at that time and afterwards we lost sight of each other. I needed a pretext to go back and to be able to spend some hours with one of the greatest African photographers at work today; the first photographer awarded by Golden Lion at Venice Biennale (2007) with a curriculum vitae full of awards and important exhibitions such as the Hasselblad Award, the solo show at Pinacoteca Gianni and Marella Agnelli in Turin and the one at Cartier Foundation in Paris.

“You see…” he pointed at the shelf with all his cameras aligned in a row, in his small studio located in a dusty street in Bamako. “You see, those are cameras that people brought to me to repair, and then left here because they didn’t have money to pay me or because they got lost.” He disappears for a while and reappears with some stuffed but tidy books of contacts from the 60’s. “What a wonderful period… you danced, and clubs were full of people who wanted to stay together. I went round the clubs and took pictures, which I sold the day after. I put posters outside my studio, people of my city knew me. Film was seen as a serious thing and there were a lot of young Casanovas, who waited in a queue for being shot with girls while dancing”.

André Magnin, Sidibé’s dealer, laughs and says to me “Vittore, that’s the way Malik is, he remains genuine, he never forgot his background and he still has the wonder of childhood, which leads him despite his age.”


Malik answers my questions composedly. I’m amazed of his total lack of influences and his spontaneity, even when he confesses not being interested in some photography that depicts the clichéd Africa, which is used by magazines and foreign photographers. Suddenly he stops talking and says: “That’s enough! Stop talking, it’s time to take pictures”. He asks me my digital camera and he starts shooting. Then he turns on the lights of his studio – made from white painted cans – and among the reflective tools made of old umbrellas, I see a tripod and his Hasselblad.

“I wanted a unique light, soft and diffused, and I change the backcloths once every two or three years. I’m very demanding, so it’s hard to find something that is perfectly suitable for my way of working.”

The sun goes down. A continuous flow of young European photographers drop by looking for a boost from the master and it interrupts our chat. Malik lavishes smiles and good words to everybody, while people point hastily their iPads bombarding him with a lot of images, all too similar to each other.

Then we look at the big black and white prints, his most well known portraits. While turning over the pictures, Malik tells me a story of each subject, person or small village in the middle of nowhere. It would take at least a month to go through them all, but my flight back is the day after. I walk away in the dark of the night, which here at the equator takes you unaware. A touch of melancholy creeps into my chest.

Vittore Buzzi

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