Between the pages of Calvino’s book, Marco Polo describes Kublai Khan the cities he came across when they were talking in the garden. And if the latter “does not necessarily believe in everything,” says Marco Polo, then he listens with interest to those fantastic descriptions that may be invented, or perhaps contain imaginary possibilities of what the city could be like. Describing cities, all with female names, Marco Polo includes details that, in the eyes of the emperor’s ambassadors, seem meaningless, invisible. These are real and imaginary cities, in some cases created by the imagination of a Venetian traveler. And everything was mixed up in the stories of the Venetian traveler. A way to highlight the contradictions inherent in a social system.
There are several realities in the artistic, literary and architectural journey of Veronica Gaido: New York, Milan, Miami, Tokyotransformed by his lens into dynamic volumes of light and shadow, in perfect balance between perception of reality and creative imagination.
“When I photograph a building or a city, I try to see the dynamic movement inside, as if they were living bodies,” Gaido continues. No wonder the second Philip Daverio “Veronica Gaido’s photographs open up a playful dialogue with light that moves into surprising and unexpected horizons.”