“Pitti Reflections” is the theme of the Pitti Immagine 2022 editions.
That is the common thread of the installations in the Fortezza da Basso and at the Stazione Leopolda, created under the creative direction of Angelo Figus in collaboration with Alessandro Moradei. Pitti Reflections is also the creative impulse of the new advertising campaign shot by the Narènte duo on a high-impact photographic set.
As explained by Agostino Poletto, general manager of the Florentine salons: “In the double meaning of a mirroring surface and a mental process that thinks, analyzes and elaborates, Reflections embodies the desire to question oneself, to go in search of what has not yet been revealed. After all, mirror is our alter ego, it is an instrument of investigation through which to scrutinize ourselves, our image and the world around us “.
Reflections, refractions, reflections, impressions, images of reference, coinciding, sometimes even not. A game of mirrors that seems faithful, but is not: it doubles, doubles, adds, amplifies, escapes and suggests different angles, proposes lateral glances.
The mirror as a theme of the double, of recognizing oneself, of one’s own identity and of the other, a contradictory sign that tells about reality, but which is also deceit, illusion, alteration, vanity, narcissism, voyeurism, evasion.
From these suggestions, the creative director Angelo Figus developed the concept of the advertising campaign of Pitti Immagine 2022 editions, interpreted in the shots and in the video made by Lucio Aru and Franco Erre, aka Narènte (in Sardinian, he who narrates), a creative couple who it is divided between Berlin and Sardinia.
The setting up of the locations
The mirrors of Pitti Immagine reflections will also characterize the locations and will dress the Fortezza da Basso and Stazione Leopolda with many reflective surfaces, in various declinations, ready to attract the eye and draw the different contexts.
“We want to open new windows on reflected worlds, play at exchanging the real with the virtual, overturn the sky and the earth, offer a kinetic vision of being in Florence” as Angelo Figus underlined.
The reflected image is composed and decomposed into a sum of splinters suggesting multiple visions, deformations as in the mirror galleries of the amusement park, windows that cut and open unexpected glances. Often random images that remind us of the mirroring surfaces of urban realities, shop windows that launch quick questions about how we see ourselves, how others see us, the real image and the mental image, almost never twins.
