RVM Issue #1
One hundred pages, 16×24 cm in size, a cover encompassing front-to-back the magazine within the horizon of a single click: RearViewMirror – published by Postcart and available from September 2009 in newsstands and in bookstores, as well as by subscription – is the new quarterly magazine dedicated to documentary photography.
In the bulls’ eye of its target, RVM puts photojournalistic reportage, explored, even beyond traditional codes, with various approaches: hardly reassuring, more unexpected (and less prone to mainstream publishing specifications), provided it remains faithful to the magazine’s declared vocation of telling stories. The starting point of RVM is in fact the idea of photography as a language (with its syntax and its ability to morph into narration), as an exercise in selecting one’s own point of view (hence the choice of what to look to and how to look at it) and as a criterion of knowledge of the world we live in, an access key to its surprising places, unfamiliar lives and untraveled roads. Starting from the cover, RVM follows a storytelling thread: choosing a shot (taken, for the first issue, from the reportage Horseboy by Justin Jin) which, all by itself, makes up a story. But RVM is also a door ajar on a broader photographic work which will not dwell in its printed pages, but will lead readers directly to the website www.rearviewmirror.it, an extension of the magazine’s structure offering a wider field of view. Inside, RVM will be host to three main departments:
Reportage, which presents four new photographic works (in the first issue, Hungry Horse by Pieter Ten Hoopen; Fault lines: Turkey East to West by George Georgiou; Angela by Marta Sarlo and Nepal, In the vice of wills by Agnes Dherbeys), all accompanied by introductory texts which, starting from the suggestions evoked by the images, follow an independent narrative path. Guest writers include Geraldina Colotti, Nicholas Birch, Giovanna Giuliani and Percival Everett – of whom RVM proposes an original excerpt, taken from his new novel American Desert, to be published in Italy this coming November by Nutrimenti.
Portfolio (dedicated in the first issue to the young Russian photographer Alisa Resnik), intended as a section designed to give space to the most interesting personal projects, and therefore to another form of storytelling: deep-seated, intimate, dreamlike. Retrospettiva, like a floodlight turned on a photographer (Massimo Sciacca, to start with) for a sort of “virtual” exhibition, that tries to summarize the different phases of his/her carreer. Then, the columns: Archivio Segreto, a journey through the films, the choices, the obsessions of a Master (in the first issue Gianni Berengo Gardin); InterView, conversation with a photographer (the South African Guy Tillim) about a new project – a book, an exhibition, a lecture – in the planning stage or achieved of late; PhotoBiz, a “dive” in the inner workings of the photo business, to gain an understanding of its ways and means, led on the occasion by Michele Neri, director of Grazia Neri Agency; ReView and PhotoFest dedicated to photographic books, special events and festivals. Finally, Picture in a Frame, a study on a portrait (in the first issue that of actor Elijah Wood as photographed by Jerome Bonnet, who was awarded with second prize in the Portraits Singles and Arts and Entertainment category of the 2009 World Press Photo), an adroit closing item – focusing on a subject, on the precise point of time in which the expression of a face and the timing of a shot epithomize the story of a lifetime – of the journey by images initiated by RVM.