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	<title>Antonio Del Vecchio &#124; Visual Artist &#38; Photographer</title>
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	<description>Antonio Del Vecchio &#124; Visual Artist &#38; Photographer</description>
	<pubDate>Fri, 04 Sep 2026 09:37:36 +0000</pubDate>
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		<pubDate>Fri, 02 Feb 2024 13:22:03 +0000</pubDate>

		<dc:creator>Antonio Del Vecchio &#124; Visual Artist &#38; Photographer</dc:creator>

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		<title>Trulli, Pagghiari, Lamie e Furneddhi</title>
				
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		<pubDate>Fri, 02 Feb 2024 13:22:06 +0000</pubDate>

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	2019 - 2024

For centuries, the Salento has undergone the long and laborious practice of preparing the soil, known as ‘spietramento’, to make it suitable for cultivation. The farmers found a large quantity of limestone in the soil, which they used to build thousands of kilometres of dry-stone walls to mark off plots of land and roads, small makeshift shelters characterised by their conical shape for storing tools and serving as temporary dwellings, sheepfolds and specchie for drying tomatoes and figs . This dry-stone construction technique is generally handed down from father to son. 
Today, most of these constructions are in ruins and abandoned, even though they are protected and listed as intangible cultural heritage by UNESCO. Restoration, protection and enhancement are carried out mainly for tourism purposes. 
The choice of the Polaroid reflects its status as a unique coy, and its sensitive and unstable medium, which undergoes perpetual transformation over time. The empty spaces in the installation evoke all the constructions that have not yet been documented, that no longer exist and that will potentially disappear. To date, Trulli, Pagghiari, Lamie e Furneddhi* comprises 250 Polaroids taken in the town of San Vito dei Normanni.


* Names in Italian and Salento dialect of some rural constructions



















Il Salento è stato sottoposto per secoli alla lunga e laboriosa pratica del- la preparazione del terreno, detta spietramento, per renderlo adatto alla coltivazione. I contadini hanno trovato nella terra una grande quantità di pietre calcaree, che hanno impiegato nella costruzione di migliaia di chilometri di muretti a secco per delimitare gli appezzamenti di terreno e le strade, di piccoli ricoveri di fortuna caratterizzati dalla forma conica per riporre gli attrezzi e fungere da abitazioni temporanee, di ovili e di specchie per essiccare pomodori e fichi. Questa tecnica di costruzione di pietra a secco viene generalmente tramandata di padre in figlio. 
Oggi la maggior parte di queste costruzioni sono in rovina e abbandonate, anche se sono protette e inserite nella lista del patrimonio culturale immateriale dell’UNESCO. Gli interventi di restauro, protezione e valorizzazione vengono effettuati perlopiù a scopo turistico. 
La scelta della polaroid riflette il suo statuto di copia unica, sensibile ed instabile, soggetto a perpetue trasformazioni con il passare del tempo. Gli spazi vuoti dell’installazione evocano tutte le costruzioni non ancora documentate, che non esistono più e che potenzialmente scompariranno. Ad oggi, Trulli, Pagghiari, Lamie e Furneddhi* comprende 250 polaroid scattate nella città di San Vito dei Normanni. 




* Nomi in italiano e in dialetto salentino di alcune costruzioni rurali&#38;nbsp;





	

	
	
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&#60;img width="1500" height="1125" width_o="1500" height_o="1125" data-src="https://freight.cargo.site/t/original/i/9681231baaef5582d525d84cbda64a98ed7b858244832ae0cfe9e96925e4f519/2_trulli_pagghiari_lamie_furnieddi_antonio_del_vecchio.jpg" data-mid="220424447" border="0"  src="https://freight.cargo.site/w/1000/i/9681231baaef5582d525d84cbda64a98ed7b858244832ae0cfe9e96925e4f519/2_trulli_pagghiari_lamie_furnieddi_antonio_del_vecchio.jpg" /&#62;Trulli, Pagghiari, Lamie e Furneddhi installation at École Nationale Supérieure de la Photographie d’Arles, France, 2024

	



	
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	Red pin: Location of San Vito dei Normanni. The series Trulli, Pagghiari, Lamie e Furneddhi comprises 250 Polaroids taken in the surrounding countryside
	

	

	
	

	
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	Prendre place, Collective exhibition of graduated ENSP students 2024, curated by Julie Martin, Hôtel Quiqueran de Beaujeu and Fondation Manuel Rivera Ortiz, Arles, France

	
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		<title>Siccum Sanguine</title>
				
		<link>https://antonio-del-vecchio.com/Siccum-Sanguine</link>

		<pubDate>Fri, 02 Feb 2024 13:22:04 +0000</pubDate>

		<dc:creator>Antonio Del Vecchio &#124; Visual Artist &#38; Photographer</dc:creator>

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	2020-2024
The Siccum sanguine* series presents as a possible portrait of the rural world of Apulia, which has now become an exploited land that still bears the scars of a violent past, built on the peasant suffering.This territory is characterised by a strong influence of the Christian religion, by rituals and traditions deeply rooted in daily life, by an arid land for sveral months of the year and by a Sun that bakes the stones, as they say in dialect.In addition to these emblematic characteristics of the Salento, there is also the rural exodus, emigration flows, economic crises, the influx of mass tourism and the spread of the xylella fastidiosa bacterium, responsible for the rapid death of olive trees.
Siccum sanguine aspires to make a symbolic representation of the carelessness of nature and popular culture, to reintegrate into the collective narrative a history of the peasant world that has been altered, and to mourn the loss of a territory that is changing.* Dry of blood, a Latin expression taken from Book VIII of Virgil's Aeneid





La serie Siccum sanguine* si propone come un possibile ritratto del mondo rurale pugliese, divenuto oggi una terra sfruttata che porta le cicatrici di un passato violento, costruito sulle sofferenze dei contadini. Questo territorio è caratterizzato da una forte influenza della religione cristiana, da riti e tradizioni profondamente radicate nella vita quotidiana, da una terra arida per diversi mesi all’anno e da un sole che cuoce le pietre, come si suol dire in dialetto. A queste caratteristiche emblematiche del Salento si aggiungono l’esodo rurale, i flussi d’emigrazione, le crisi economiche, l’afflusso del turismo di massa e la diffusione del batterio xylella fastidiosa, responsabile del rapido disseccamento degli ulivi. 
Siccum Sanguine intende rappresentare simbolicamente l’ incuria della natura e della cultura popolare, reintegrare nella narrazione collettiva una storia del mondo contadino che è stata alterata, ed elaborare il lutto di un territorio che sta cambiando e della perdita ineluttabile che ne deriva. 




 * Secca di sangue, espressione latina tratta dal libro VIII dell’Eneide di Virgilio 
	

	
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Installation at École Nationale Supérieure de la Photographie d’Arles, France, June 2024



	
	
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Situations de l’image, collective exhibition Photo Saint Germain festival, Beaux-Arts de Paris, France, October-November 2024


</description>
		
	</item>
		
		
	<item>
		<title>Ex Corpore</title>
				
		<link>https://antonio-del-vecchio.com/Ex-Corpore</link>

		<pubDate>Fri, 02 Feb 2024 13:22:07 +0000</pubDate>

		<dc:creator>Antonio Del Vecchio &#124; Visual Artist &#38; Photographer</dc:creator>

		<guid isPermaLink="true">https://antonio-del-vecchio.com/Ex-Corpore</guid>

		<description>
	

	
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	2023 - ongoing
This research establishes a visual dialogue between photographs from private family albums and photos of&#38;nbsp;everyday tools and objects from the rural world of Apulia. 
The term Excorpore, of Latin origin, refers to a category of relics whose origin is directly linked to the body. Today, these veritable relics of peasant culture, which embody a sacred and symbolic dimension, are exhibited in museums, stored or forgotten in tool sheds and dislayed in antique markets.Excorpore highlights these tools that bear the imprint of the body, of labor, and of time — the “Beauties of the Common Tool” evoked by Walker Evans — and&#38;nbsp; establish a connection with vernacular photography, in order to question the fate of these objects, now supplanted by technology and machines.
Excorpore now takes the form of a daily newspaper.



	
		
		
	
	
		
			
				
					


	
Questa ricerca costituisce un dialogo visivo fra fotografie che provengono dagli album di famiglia privati e le foto di utensili e oggetti d’uso quotidiano del mondo contadino pugliese. Il termine Excorpore, di origine latina, si riferisce a una categoia di reliquie la cui origine è direttamente legata al corpo. Oggi, queste vere e proprie reliquie della cultura contadina, che incarnano una dimensione sacra e simbolica, sono esposte nei musei, conservate o dimeticati nei depositi degli attrezzi e esposti nei mercati dell’antiquariato.
Excorpore intende valorizzare questi attrezzi che portano con loro la traccia del corpo, del lavoro e del tempo — le “Beauties of the Common Tool” evocate da Walker Evans —, stabilire un legame con la fotografia vernacolare e di invita a riflettere sul destino di  questi oggetti, ormai soppiantati dalla tecnologia e dalle macchine. Excorpore prende ad oggi la forma di un quotidiano. 








	
	
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VI, UV printing on glass plate of a vernacular picture
from the artist’s private collection, 10 x 15 cm, 2025

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I, UV printing on glass plate of a vernacular picture
from the artist’s private collection, 10 x 15 cm, 2025
	


	
	
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&#60;img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/6a76f27b96b91f0ecf62711ad86f0f9aca93ca77f60dda13a64511b9004ea157/DSC_3807ANTONIO_DEL_VECCHIO_EXCORPORE_1500px-72dpi.jpg" data-mid="247169666" border="0"  src="https://freight.cargo.site/w/1000/i/6a76f27b96b91f0ecf62711ad86f0f9aca93ca77f60dda13a64511b9004ea157/DSC_3807ANTONIO_DEL_VECCHIO_EXCORPORE_1500px-72dpi.jpg" /&#62;
&#60;img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/ccc3f15462d92f181a9bddae58ce75d5b51cb75307d971258ac5e9c9d3d01a4f/DSC_3854_-EXCORPORE_ANTONIO_DEL_VECCHIO_1500px-72dpi.jpg" data-mid="247152720" border="0"  src="https://freight.cargo.site/w/1000/i/ccc3f15462d92f181a9bddae58ce75d5b51cb75307d971258ac5e9c9d3d01a4f/DSC_3854_-EXCORPORE_ANTONIO_DEL_VECCHIO_1500px-72dpi.jpg" /&#62;
&#60;img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/5b289a0b2b1933bef7640e03960a34600ce73f2df53cee6bdc7e73a10e97d3d6/DSC_3813_-EXCORPORE_ANTONIO_DEL_VECCHIO_1500px-72dpi.jpg" data-mid="247152700" border="0"  src="https://freight.cargo.site/w/1000/i/5b289a0b2b1933bef7640e03960a34600ce73f2df53cee6bdc7e73a10e97d3d6/DSC_3813_-EXCORPORE_ANTONIO_DEL_VECCHIO_1500px-72dpi.jpg" /&#62;
Sous la peau du réel, Collective exhibition, 
ENSP / Galerie Itinérante of
FUPAIC, Espace Van Gogh, Arles, France, 2025



	
	
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/6de3e8858df2f1c726d09ee3df6679918b1897b00aa0adb39f87f167e2409514/1_Ex_Corpore_Antonio_Del_Vecchio.jpg" data-mid="251844809" border="0"  src="https://freight.cargo.site/w/1000/i/6de3e8858df2f1c726d09ee3df6679918b1897b00aa0adb39f87f167e2409514/1_Ex_Corpore_Antonio_Del_Vecchio.jpg" /&#62;
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&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/7dd44d35bd9641e403225546f06da06678b5b81d179fcec3e24e8a8df93642c0/8_Ex_Corpore_Antonio_Del_Vecchio.jpg" data-mid="251844816" border="0"  src="https://freight.cargo.site/w/1000/i/7dd44d35bd9641e403225546f06da06678b5b81d179fcec3e24e8a8df93642c0/8_Ex_Corpore_Antonio_Del_Vecchio.jpg" /&#62;
Demorar a l’hestacha, Approches Creusoises, solo exhibition during La Festive Festival, La Métive, Moutier-d’Ahun, France, 2026
</description>
		
	</item>
		
		
	<item>
		<title>Mio padre posa delle pietre sulla mia schiena</title>
				
		<link>https://antonio-del-vecchio.com/Mio-padre-posa-delle-pietre-sulla-mia-schiena</link>

		<pubDate>Tue, 29 Oct 2024 15:19:29 +0000</pubDate>

		<dc:creator>Antonio Del Vecchio &#124; Visual Artist &#38; Photographer</dc:creator>

		<guid isPermaLink="true">https://antonio-del-vecchio.com/Mio-padre-posa-delle-pietre-sulla-mia-schiena</guid>

		<description>
	
	

	

	
	&#60;img width="1500" height="1126" width_o="1500" height_o="1126" data-src="https://freight.cargo.site/t/original/i/56f83c96ba444e06a30d68bfdfc28c360a268baa378e337e9a98aa0e9bb5988f/mi_padre_posa_delle_pietre_sulla_mia_schiena_antonio_del_vecchio_video_1.jpg" data-mid="220504829" border="0"  src="https://freight.cargo.site/w/1000/i/56f83c96ba444e06a30d68bfdfc28c360a268baa378e337e9a98aa0e9bb5988f/mi_padre_posa_delle_pietre_sulla_mia_schiena_antonio_del_vecchio_video_1.jpg" /&#62;&#60;img width="1500" height="1125" width_o="1500" height_o="1125" data-src="https://freight.cargo.site/t/original/i/4254d7bcd29516849f4b3709681d6a612fe8a50f3408c55cfaec4b90e575cc14/mi_padre_posa_delle_pietre_sulla_mia_schiena_antonio_del_vecchio_video_3.jpg" data-mid="220504831" border="0"  src="https://freight.cargo.site/w/1000/i/4254d7bcd29516849f4b3709681d6a612fe8a50f3408c55cfaec4b90e575cc14/mi_padre_posa_delle_pietre_sulla_mia_schiena_antonio_del_vecchio_video_3.jpg" /&#62;&#60;img width="1500" height="1124" width_o="1500" height_o="1124" data-src="https://freight.cargo.site/t/original/i/d678c8aa74d99bca7219ce6d089f35d38df85fc069d10b455b75561bec5dd7a3/mi_padre_posa_delle_pietre_sulla_mia_schiena_antonio_del_vecchio_video_2.jpg" data-mid="220504872" border="0"  src="https://freight.cargo.site/w/1000/i/d678c8aa74d99bca7219ce6d089f35d38df85fc069d10b455b75561bec5dd7a3/mi_padre_posa_delle_pietre_sulla_mia_schiena_antonio_del_vecchio_video_2.jpg" /&#62;

	

	
		










2023
Mio padre posa delle pietre sulla mia schiena (My father lays stones on my back) is a short film centered on the traditional technique of building dry stone walls, characteristic of Mediterranean countries and, in particular, my home region, Apulia.In biblical tradition, the stone symbolizes salvation. In Hebrew, the word eben means "stone" and combines the words Av (Father) and Ben (Son). My father’s gesture of building a pile of stones on my back symbolizes the intergenerational transmission of culture, heritage, and the collective memory of the peasant world.My body becomes part of the dry stone wall, part of the land, and a personification of Apulian peasant identity.














Mio padre posa delle pietre sulla mia schiena è un cortometraggio che riprende la tecnica di costruzione dei muretti a secco tipici dei paesi del Mediterraneo, in particolare della mia regione d’origine, la Puglia.Nella tradizione biblica, la pietra incarna il valore della salvezza. In ebraico, la parola eben significa "pietra", ed è una combinazione delle parole Av (Padre) e Ben (Figlio). Il gesto di mio padre di costruire un cumulo di pietre sulla mia schiena simboleggia la trasmissione intergenerazionale della cultura, del patrimonio e della memoria collettiva del mondo contadino. Il mio corpo diventa parte del muretto a secco, parte del territorio e la personificazione dell’identità contadina pugliese.

	

	
	



	


	

	
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&#60;img width="1500" height="1125" width_o="1500" height_o="1125" data-src="https://freight.cargo.site/t/original/i/1ee4e9c5eea93f6464be7eb6f0b4238b548ad64fa48f0e5f7d7d6116cef81c77/mi_padre_posa_delle_pietre_sulla_mia_schiena_antonio_del_vecchio_video_6.jpg" data-mid="220505289" border="0"  src="https://freight.cargo.site/w/1000/i/1ee4e9c5eea93f6464be7eb6f0b4238b548ad64fa48f0e5f7d7d6116cef81c77/mi_padre_posa_delle_pietre_sulla_mia_schiena_antonio_del_vecchio_video_6.jpg" /&#62;

	Mio padre posa delle pietre sulla mia schiena [My father laying stones on my back], 2023Video installation, 3:03, at École Nationale Supérieure de la Photographie d’Arles, Franceproduced by Antonio Del Vecchiovideomaking and video editing: Chiara Cappielloassistants: Piero Del Vecchio and Maria Caliandro


	

	
</description>
		
	</item>
		
		
	<item>
		<title>La mémoire de la faux</title>
				
		<link>https://antonio-del-vecchio.com/La-memoire-de-la-faux</link>

		<pubDate>Wed, 11 Jun 2025 12:38:17 +0000</pubDate>

		<dc:creator>Antonio Del Vecchio &#124; Visual Artist &#38; Photographer</dc:creator>

		<guid isPermaLink="true">https://antonio-del-vecchio.com/La-memoire-de-la-faux</guid>

		<description>
	
	&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/ededc68c7830e5db3fbfff4362f676d492f351c3211eafe191fbdf719788ac59/Antonio-Del-Vecchio-La-Metive-La-memoire-de-la-faux0.jpg" data-mid="234649445" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/ededc68c7830e5db3fbfff4362f676d492f351c3211eafe191fbdf719788ac59/Antonio-Del-Vecchio-La-Metive-La-memoire-de-la-faux0.jpg" /&#62;

	

	

	
	2025
Within the framework of the research and creation residency at La Métive (Creuse, France), promoted by the Italian Cultural Institute in Paris, the artist produced a site-specific performance.
He recovered several agricultural tools from a local flea market and brought them back to the place where they had once been displayed. Until 2006, La Métive housed a museum dedicated to rural civilisation; following its closure, the collection was dispersed.
This simple yet symbolic gesture — returning the agricultural tools to the site where they were once preserved — opens a reflection on the memory of rural culture and on the concept of museification.
The scythe, the central element of the performance, is decontextualised and activated by the artist’s body through repetitive movements and sounds. The performance transforms the former museum room, now dedicated to dance, into a space of resonance between past and present.&#38;nbsp;Through a minimalist choreography, La mémoire de la faux brings body, space, and object into dialogue, reactivating the memory embedded in the gestures associated with the tool’s use.
Removed from both its original function and oblivion, the scythe becomes the body of a collective memory that endures and resists.














Durante la residenza di ricerca e creazione a La Métive (Creuse, Francia), promossa dall’Istituto Italiano di Cultura di Parigi, l’artista realizza una performance site-specific.Recupera alcuni attrezzi agricoli da un mercatino locale e li ha riportati nel luogo in cui un tempo erano esposti. Fino al 2006, infatti, La Métive ha ospitato al suo interno un museo della civiltà contadina; dopo la chiusura del museo, la collezione fu dispersa. Questo gesto semplice ma simbolico – riportare gli attrezzi agricoli dove prima erano custoditi – dà avvio a una riflessione sulla memoria della cultura contadina e sul concetto di museificazione. 
La falce, protagonista della performance, viene decontestualizzata e attivata dal corpo dell’artista attraverso movimenti e suoni ripetitivi. La performance trasforma l’ex sala del museo, oggi adibita a sala da danza, in un luogo di risonanza tra passato e presente. Con una coreografia essenziale, La mémoire de la faux mette in dialogo corpo, spazio e oggetto, riattivando la memoria dei gesti legati all’uso dell’attrezzo. 
Sottratta alla sua funzione originaria e all’oblio, la falce diventa corpo di una memoria collettiva che vive e resiste.


	

	
	


	
	
		
        
      
  
        
        
        

	
	La mémoire de la faux I&#38;nbsp;(The Memory of the Scythe), 2025, 3:35
La mémoire de la faux II&#38;nbsp;(The Memory of the Scythe), 2025, 2:47Site-specific video performance created during the artistic residency and exhibition at La Métive (Moutier-d’Ahun, Creuse, France) as part of the Nuovo Grand Tour 2025 program, promoted by the Insituto Italiano di Cultura di Parigi.



	

	
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&#60;img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/57d1c2bc6e7f0a722a5fb7bd2884438fa2d2d9225f52db0458f0bc27e77cef1c/Antonio-Del-Vecchio-La-Metive-La-memoire-de-la-faux4.jpg" data-mid="234649449" border="0"  src="https://freight.cargo.site/w/1000/i/57d1c2bc6e7f0a722a5fb7bd2884438fa2d2d9225f52db0458f0bc27e77cef1c/Antonio-Del-Vecchio-La-Metive-La-memoire-de-la-faux4.jpg" /&#62;
Demorar a l’hestacha, Approches Creusoises, solo exhibition, La Métive, Moutier-d’Ahun, France, April 2025



	
	
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Sous la peau du réel, Collective exhibition, 
ENSP / Galerie Itinérante of
FUPAIC, Espace Van Gogh, Arles, France, 2025
</description>
		
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	<item>
		<title>Demorar a l'hestacha - Approches Creusoises</title>
				
		<link>https://antonio-del-vecchio.com/Demorar-a-l-hestacha-Approches-Creusoises</link>

		<pubDate>Thu, 03 Sep 2026 08:13:24 +0000</pubDate>

		<dc:creator>Antonio Del Vecchio &#124; Visual Artist &#38; Photographer</dc:creator>

		<guid isPermaLink="true">https://antonio-del-vecchio.com/Demorar-a-l-hestacha-Approches-Creusoises</guid>

		<description>
	
	&#60;img width="1005" height="1500" width_o="1005" height_o="1500" data-src="https://freight.cargo.site/t/original/i/a648214a86920d3c8c5193895579c458bfc03f7d66ca2a7437bcbc0be42a8367/3_Demorar-l-estacha-approches-creusoises_Antonio_Del_Vecchio.jpg" data-mid="251809881" border="0"  src="https://freight.cargo.site/w/1000/i/a648214a86920d3c8c5193895579c458bfc03f7d66ca2a7437bcbc0be42a8367/3_Demorar-l-estacha-approches-creusoises_Antonio_Del_Vecchio.jpg" /&#62;
	

	
	2025 - 2026
Conceived within the framework of the Nuovo Grand Tour residency, promoted by the Italian Cultural Institute in Paris, Demorar a l’estacha*, Approches Creusoises is a project exploring the intersections of collective and individual memory in the rural French region of Creuse. It seeks to shed light on the processes through which knowledge and traditions are transmitted, while examining the relationship to land and landscape as a foundation of identity.The series focuses on everyday practices and on the deep, intimate relationship that inhabitants maintain with their landscape. Traces, details, and variations in light, seemingly marginal or anecdotal, evoke the passage of time and the simultaneous presence of life and death. Through the gestures of agricultural labour and the marks left upon the land, the slow and silent transformations of a landscape in constant evolution gradually emerge.

*In the Occitan language of the Limousin region: to be left stranded, set aside, stuck, and abandoned.




Concepito nell’ambito della residenza Nuovo Grand Tour, promossa dall’Istituto Italiano di Cultura di Parigi, Demorar a l’estacha*, Approches Creusoises è un progetto che esplora le intersezioni tra memoria collettiva e individuale nel contesto rurale della regione francese della Creuse. Il progetto intende mettere in luce i processi attraverso i quali si trasmettono saperi e tradizioni, indagando al contempo il rapporto con la terra e il paesaggio come fondamento dell’identità.
La serie si concentra sulle pratiche quotidiane e sul rapporto profondo e intimo che gli abitanti intrattengono con il proprio paesaggio. Tracce, dettagli e variazioni della luce, apparentemente marginali o aneddotiche, evocano il passare del tempo e la presenza simultanea della vita e della morte. Nei gesti del lavoro contadino e nei segni lasciati sul territorio emergono così le trasformazioni lente e silenziose di un paesaggio in continua evoluzione.



*In lingua occitana della regione del Limosino: essere lasciato in sospeso, messo da parte, bloccato e abbandonato

	

	
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Demorar a l’hestacha, Approches Creusoises, solo exhibition during La Festive Festival, La Métive, Moutier-d’Ahun, France, 2026


</description>
		
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	<item>
		<title>Installazione Cadres de ruche</title>
				
		<link>https://antonio-del-vecchio.com/Installazione-Cadres-de-ruche</link>

		<pubDate>Fri, 04 Sep 2026 09:37:36 +0000</pubDate>

		<dc:creator>Antonio Del Vecchio &#124; Visual Artist &#38; Photographer</dc:creator>

		<guid isPermaLink="true">https://antonio-del-vecchio.com/Installazione-Cadres-de-ruche</guid>

		<description>
	
	&#60;img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/6545a4110124985b0b20bb2699e7f5c8026ef6d45938b49f3462a0fee46c0170/2_installazione_Antonio_Del_Vecchio.jpg" data-mid="251835298" border="0"  src="https://freight.cargo.site/w/1000/i/6545a4110124985b0b20bb2699e7f5c8026ef6d45938b49f3462a0fee46c0170/2_installazione_Antonio_Del_Vecchio.jpg" /&#62;

	
	
Cadres de ruche, 2025Found object, beehive frames, mixed materials23 × 48 cm eachSolo exhibition Demorar a l’hestacha, Approches Creusoises, La Métive, Moutier-d’Ahun, France

	
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	<item>
		<title>Architecture rurale en Camargue </title>
				
		<link>https://antonio-del-vecchio.com/Architecture-rurale-en-Camargue</link>

		<pubDate>Mon, 04 May 2026 15:35:08 +0000</pubDate>

		<dc:creator>Antonio Del Vecchio &#124; Visual Artist &#38; Photographer</dc:creator>

		<guid isPermaLink="true">https://antonio-del-vecchio.com/Architecture-rurale-en-Camargue</guid>

		<description>
&#60;img width="1500" height="1875" width_o="1500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/0d090f28df1064f01e90848bf243e8030faf493ac885d619c622c04a1ca5131f/Architecture_rurale_en_Camargue_Antonio_Del_Vecchio_1500px-100dpi.jpg" data-mid="247853916" border="0"  src="https://freight.cargo.site/w/1000/i/0d090f28df1064f01e90848bf243e8030faf493ac885d619c622c04a1ca5131f/Architecture_rurale_en_Camargue_Antonio_Del_Vecchio_1500px-100dpi.jpg" /&#62;
	
	 2020-2021
Within the pedagogical project Arles Observatoire of the École nationale supérieure de la photographie in Arles, Rural Architecture in Camargue explores the landscape and rural architecture of the Camargue, a vast wetland area located in southeastern France.
This series focuses on the traditional huts of the gardians and is part of a broader research on vernacular housing in southern Italy and France. Originally, these structures served as shelters for agricultural workers and for those who tended the Camargue’s herds of bulls. Their morphology was perfectly adapted to the local climate, featuring reed-thatched roofs, a south-facing orientation, and an apsidal form designed to withstand the force of the mistral wind.
Today, most of the original huts have disappeared and have been replaced by modern variants, visible in Saintes-Maries-de-la-Mer, considered the cultural capital of the Camargue. The renewal of these constructions bears little relation to the humble dwellings of the local rural world, once valued and promoted by the Marquis Folco de Baroncelli at the beginning of the 20th century; on the contrary, tourism has progressively turned them into objects of commodification, reinforcing an exoticized and commercialized image of the region.












Nell’ambito del progetto pedagogico Arles Observatoire dell’École nationale supérieure de la photographie di Arles, Architecture rurale en Camargue esplora il paesaggio e l’architettura rurale della Camargue, una vasta zona umida situata nel sud-est della Francia.Questa serie si concentra sulle capanne dei guardiani di tori e fa parte di una ricerca più ampia sull’habitat vernacolare nel sud dell’Italia e della Francia. In origine, queste costruzioni servivano da rifugio per i lavoratori agricoli e i custodi delle mandrie di tori della Camargue. La loro morfologia era perfettamente adattata al clima del territorio, grazie ai tetti in canna palustre, all’orientamento a sud e alla forma absidata, progettata per contrastare la forza del maestrale.Oggi, la maggior parte delle capanne originarie è scomparsa ed è stata sostituita da varianti moderne, visibili a Saintes-Maries-de-la-Mer, considerata come la capitale culturale della Camargue. Il rinnovamento di queste costruzioni non ha più nulla a che vedere con le umili abitazioni del mondo contadino locale, valorizzate e promosse dal marchese Folco de Baroncelli all’inizio del XX secolo; al contrario, il turismo ne ha progressivamente fatto oggetto di sfruttamento, alimentando una rappresentazione esotica e commercializzata della regione.


	

	
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height="937" width_o="1500" height_o="937" data-src="https://freight.cargo.site/t/original/i/d4f08dce953f73b270834ae0217d8d0d1ce034019c2b3a797dcad02a2de41ca9/Antonio_Del-Vecchio_Architecture_rurale_en_Camargue_maquette_avril_2024_8-copia-1500px-72dpi.jpg" data-mid="247858017" border="0"  src="https://freight.cargo.site/w/1000/i/d4f08dce953f73b270834ae0217d8d0d1ce034019c2b3a797dcad02a2de41ca9/Antonio_Del-Vecchio_Architecture_rurale_en_Camargue_maquette_avril_2024_8-copia-1500px-72dpi.jpg" /&#62;&#60;img width="1500" height="525" width_o="1500" height_o="525" data-src="https://freight.cargo.site/t/original/i/8fef5415d0247589074fddcf210bcf3ab06486f7ef3dbd2d8e130ac016242163/Antonio_Del-Vecchio_Architecture_rurale_en_Camargue_maquette_avril_2024_95-copia-1500px-72dpi.jpg" data-mid="247858029" border="0"  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width="2362" height="1476" width_o="2362" height_o="1476" data-src="https://freight.cargo.site/t/original/i/5dbb926368141dbb4f7fadc6f730785dd37ab7d890bf8ca174b3f83db61af7be/Antonio_Del-Vecchio_Architecture_rurale_en_Camargue_maquette_avril_2024_211.jpg" data-mid="247858067" border="0"  src="https://freight.cargo.site/w/1000/i/5dbb926368141dbb4f7fadc6f730785dd37ab7d890bf8ca174b3f83db61af7be/Antonio_Del-Vecchio_Architecture_rurale_en_Camargue_maquette_avril_2024_211.jpg" /&#62;&#60;img width="1500" height="937" width_o="1500" height_o="937" data-src="https://freight.cargo.site/t/original/i/1fd49be7f92f5bc46ab38f69445b2ccfacca2218c0100111aeb12fab72e16f80/Antonio_Del-Vecchio_Architecture_rurale_en_Camargue_maquette_avril_2024_93-copia-1500px-72dpi.jpg" data-mid="247858027" border="0"  src="https://freight.cargo.site/w/1000/i/1fd49be7f92f5bc46ab38f69445b2ccfacca2218c0100111aeb12fab72e16f80/Antonio_Del-Vecchio_Architecture_rurale_en_Camargue_maquette_avril_2024_93-copia-1500px-72dpi.jpg" /&#62;&#60;img width="1500" height="937" width_o="1500" height_o="937" data-src="https://freight.cargo.site/t/original/i/8606bb6f13a8675f1de2c10d363d9823acc1d99984098510e922cefa41bb89ef/Antonio_Del-Vecchio_Architecture_rurale_en_Camargue_maquette_avril_2024_82-copia-1500px-72dpi.jpg" data-mid="247858025" border="0"  src="https://freight.cargo.site/w/1000/i/8606bb6f13a8675f1de2c10d363d9823acc1d99984098510e922cefa41bb89ef/Antonio_Del-Vecchio_Architecture_rurale_en_Camargue_maquette_avril_2024_82-copia-1500px-72dpi.jpg" /&#62;&#60;img width="1500" height="937" width_o="1500" height_o="937" data-src="https://freight.cargo.site/t/original/i/48e5d8e66c957ed9885f3f4f855eee879b4e0ff6a53519c6c4e10f042e0ff5f9/Antonio_Del-Vecchio_Architecture_rurale_en_Camargue_maquette_avril_2024_92-copia-1500px-72dpi.jpg" data-mid="247858026" border="0"  src="https://freight.cargo.site/w/1000/i/48e5d8e66c957ed9885f3f4f855eee879b4e0ff6a53519c6c4e10f042e0ff5f9/Antonio_Del-Vecchio_Architecture_rurale_en_Camargue_maquette_avril_2024_92-copia-1500px-72dpi.jpg" /&#62;Architecture rurale en Camargue, artist’s dummy book, 76 pages, 20 × 25 cm, 2020–2021 
First edition completed and printed at the presses of the École nationale supérieure de la photographie, Arles, in April 2021.Second edition completed and printed at the presses of the École nationale supérieure de la photographie, Arles, in June 2024, on the occasion of the Arles Observatoire exhibition, as part of the Rencontres d’Arles 2024 festival, France.



	


	
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&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/fb68cf1a2377a121b06e36ae272dca12ccdd02dbf60e1251c8cba4e14265b5e1/5DAM0114-copia-1500px-72dpi.jpg" data-mid="247859481" border="0"  src="https://freight.cargo.site/w/1000/i/fb68cf1a2377a121b06e36ae272dca12ccdd02dbf60e1251c8cba4e14265b5e1/5DAM0114-copia-1500px-72dpi.jpg" /&#62;
Arles Observatoire, group exhibition curated by Gilles Saussier and Ono Tadashi, Les Rencontres d’Arles, Abbaye de Montmajour, Arles, France, 2024

</description>
		
	</item>
		
		
	<item>
		<title>Siccum Sanguine</title>
				
		<link>https://antonio-del-vecchio.com/Siccum-Sanguine-1</link>

		<pubDate>Thu, 07 May 2026 10:43:53 +0000</pubDate>

		<dc:creator>Antonio Del Vecchio &#124; Visual Artist &#38; Photographer</dc:creator>

		<guid isPermaLink="true">https://antonio-del-vecchio.com/Siccum-Sanguine-1</guid>

		<description>
	
	&#60;img width="689" height="912" width_o="689" height_o="912" data-src="https://freight.cargo.site/t/original/i/23c17c43f1aa42030b7ab171184b0978bad368cf7ab9abdc5d9a70d0a89f2cb3/DSC03919--1500px-72dpi-copia-mod.jpg" data-mid="247995088" border="0"  src="https://freight.cargo.site/w/689/i/23c17c43f1aa42030b7ab171184b0978bad368cf7ab9abdc5d9a70d0a89f2cb3/DSC03919--1500px-72dpi-copia-mod.jpg" /&#62;
	

	
	2024


	

	

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Siccum Sanguine, bilingual artist’s dummy book (Italian/French), 92 pages, 
Olin Regular 120 gr, 2024


	


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