1991, Pesaro (PU)


The film semiologist and critic Christian Metz states that watching a movie implies “a specific kind of enjoyment, we find inner and personal images projected outside” and this causes the “temporary suspension of a common solitude”. I have been taking pictures of young couples living together as I needed to fill a gap, to understand how my unstable generation, raised in a hyper-connected communication system that doesn’t admit loneliness, faces the same gap.  I see cohabitation as a temporary escape plan, as an attempt of suspending – even only for a moment -something that we had never known for real.


DERIVA (2017)


“Author’s Preface

The places, events and people in this book are all real.

The names are real also.

In writing this book I could not endure the thought of inventing anything, and therefore I could not alter the actual names, which I felt were an inseparable part of actual persons. I have set down only what I myself could recall. Con­sequently if this book is read as a chronicle of events it may be objected that there are omissions. Although the book is based on reality, I think it should be read as though it were a novel, that is, read without de­manding of it either more or less than what a novel can offer. This story is not in fact my own but rather, in spite of all gaps and omissions, a record of my family. Since my childhood and adolescence, I have always intended to write a book which would tell the story of the people who lived through those times with me. This is to some extent that book, but only to some extent, because the memory is treacherous and books based on reality are so often only faint reflections and sketches of all that we have seen and heard.”

Natalia Ginzburg, Family Sayings


Images are, by their very nature, evasive and ambig­uous. Each of them lives in its own specific format, and contains layers of stories, experiences, and facts that I am not able to recall or reorder. As an inert body is carried by a moving fluid, the viewer is invit­ed here to explore this visual archipelago without a defined route.


JORDAN GENERAL ELECTIONS (2016-2017) – winner first prize EPA2017


When I landed in Amman on September 1st 2016 the parliamentary elections were about to come.

On the way from Queen Alia airport to Darat al Funun, I saw hundreds of electoral campaign posters. I was overwhelmed by the complexity of social and visual landscapes of the city and I felt the need to explore it. Amman is many cities altogether, and they are not neatly juxtaposed, they are squeezed, mashed into each other, so that you can barely understand where one ends and another one begins. While I was trying to find an orientation and some reference points, the posters have been my fil rouge, they seemed to be the only common thread between completely different areas such as Abdoun, the most wealthy and westernized district, and Ain Albasha, a former refugee camp at the border of the city. For the first twenty days I followed them as an attempt to disentangle both the political and geographical complexity of Amman, even if I knew the whole campaign was totally impermanent. The fanzine was the natural outcome of this process, as I wanted a temporary container for a temporary map of the city. The installation is meant as a reflection on how we represent political and social power: there is a formal historical representation of ghostly parliamentary building rooms, that stands over a way more chaotic and transitory background. The fanzine was printed in 30 copies in Amman, in October 2016 with the support of Khalid Shoman Foundation and Darat al Funun.


Zoe Paterniani, Jordan General Elections, 2016-2017, inkjet print, poster and fanzine
Zoe Paterniani, Deriva, 2017, inkjet print and images from family archive
Zoe Paterniani, Giulia e Flavio, from the series La rottura provvisoria di una comune solitudine, 2016-on going, c-print
Zoe Paterniani, Stefania e Emilio, from the series La rottura provvisoria di una comune solitudine, 2016-on going, c-print