Two authors , two different visions and approaches for an imaginary chess game, which is played through the ploy of what it seems, but is not what it appears.

In this journey we are faced with two narratives that interpret places, through precise coordinates , made up of the reinterpretations of Annalisa Moschini and Diletta Nicosia. Each photograph shows traces of external and internal worlds at the antipodes, where the common denominator is perceptible in the choice of portraying the places, beyond their evident specific destination.
A theme that we have learned from the theories of scholars such as Marc Augé , thanks to which we trace a precise definition of the concept of place.

For Augé it must possess three fundamental characteristics: it must be identifying, such as to mark the identity of those who live there; relational, that is, which identifies the reciprocal relationships between the subjects, according to their common belonging; and finally historical, that is, it must remind the individual of his roots. Characteristics missing from the spaces that surround us, especially those used for transit, transport and leisure, where people are passing through, they stop briefly, but no one actually lives there. In the same way, moving to a purely visual field and taking as a reference an author such as Guido Guidi , we pause on the appearance of places: we begin to photograph spaces and objects excluded from any attribution of meaning and therefore the terrain of the observable is considerably expanded. and of the immortal, highlighting the often contradictory aspects that make up the contemporary world.
In both paths - theoretical and visual - an ambivalence inherent by nature in the landscape is underlined, as a container of signs that are difficult to define and decode, because they are the result of continuous stratifications, which modify the sense of place and which, by means of photography, they become interceptible and evident, in multiple and unexpected facets.
This is the case of the double perspective offered by the two authors protagonists of this narration who, starting from different instances for individual experiences and experiences, training, research and path, become compatible, giving interesting ideas to reflection on the metamorphosis of places, on their reinterpretation, for the purpose of a deeper understanding of the contemporary function assumed by the latter, through unprecedented points of view.

In Fun by Annalisa Moschini , the places of entertainment take on the role of "containment centers". All the elements attributable to the aid of the game, become tools of constraint and forced inclusion. The rigor, the cut and the color of the images are tools skilfully used by the artist, to emphasize the evident contradictions between container and content. We are witnessing a perturbation of the environment usually perceived as free, carefree and open, which inevitably leads to a question about the meaning and function of space.
In I Quotidiani non places proposed by Diletta Nicosia, the places of passage and rest, generally occlusive and independent of each other, are instinctively taken up and here they become pleasant, because they are characterized by the identification of sequential, common and coherent elements, such as the sinuous geometries or the choice of soft colors, offering an aesthetically enjoyable and captivating result, of a space that by its definition was born closed, containing, limiting and devoid of appeal, and which now becomes welcoming and reassuring.
In the game of appearances , each place is shown for its exact opposite, denoting the loss of its essence and primary function.

The two perspectives capture non-concrete and impalpable factors, such as absence and immobility which, on the one hand, are restored with the socio-anthropological reflection on today's sense of open places and dedicated to recreational leisure activities, on the other hand revealed through the aesthetic trick of closed environments intended for breaks between one activity and the next.
The particularity of the points of view allows you to move from the depth to the surface of the places shown, hypothetically identified as familiar and now unrecognizable, as generators of a sense of disorientation, compared to the traditional and widespread perception.

They are not imaginary worlds , they are physical and real places, shown as they appear in a new, curious and disturbing way in the two opposite and unexpectedly aligned visions.