2015 - 2019

Gluqbar Editions
ISBN 9791220045643


Solo shows:
“Seeing Double” @ Metronom (Live Studio residence)
“The White Room  The Black Room” @ Spazio Duale Roma
“Gluqbar” @ Chiostri di San Domenico, curated by Daniele De Luigi & Ilaria Campioli
“Darkroom” @ Centrale Festival, curated by Marco Paltrinieri

Collective exhibitions:
“Sideways” @ Fotografia Europea

“Mōmentum” @ Nesxt Torino
“Mo[t]us Operandi” @ Minimum (Manifesta collaterals)
“Retina” @ Gluqbar Milano 
“Dancing in Peckham” @ Peckham 24
Looking On - Sguardi e Prospettive sulla Nuova Fotografia Italiana”
(invitation by Federica Chiocchetti, project by Osservatorio Fotografico)

Winner of Energie Diffuse Grant
Finalist prizes:
Portfolio Review Prize NRW-Forum Düsseldorf
Cosmos PDF Award Les Rencontres d'Arles
Premio Francesco Fabbri
GiovaniArtistiItaliani Fotografia Europea

Aperture Photobook Review
Generazione Critica

Bookshops: Printed Matter (featured at NYABF2019 @ MoMA PS1), The Photographers Gallery, Motto, Leporello, Bruno, versolibri, LibriDiSam, Fotografia Europea, Gluqbar..


The work “Vietnik” addresses the intrinsic duality of the photographic medium and its tie to the performative construction of identities. “Photography is the advent of myself as other: a cunning dissociation of the awareness of identity”. Vietnik is a musical pseudonym, a proxy, a cyborg in the inescapable extension of the self through technology, a “self-portrait as a building and bildung”.

The double (spatial and temporal, photographic and musical, of images and words) is a recurring motif, like a refrain - in the publication as in the installations and previous works.

The book's structure emulates and subverts the increasingly popular Hollywood format of the biopic. How does this trend of today cultural consumer is connected to the performative construction of social identities? How much of me appears in the photographed “persona” (“mask” -Latin, “public image” -English)?

“..in his latest work, Vietnik (2019), Massaro reflects on the representation of his persona through a refined narrative system, where images, that for compositional care and attention recall the masters of analogue photography, are linked together in a complex rhizomatic system that remembers the network's connecting spaces. Linking past and present of visual research in a continuous game of references and stratifications, the images produced by Massaro mix personal experience and imaginative dimension thus becoming ambiguous “multiples” of the author.. Following this logic, Darkoom expands the universe of Vietnik in an installative form, introducing the sound element, another central language in Massaro’s practice as well as in his life. The title forces two worlds that seem to be at odds to a curious coexistence: nostalgic fetishism for film photography, and club culture darkrooms. This unresolved tension represents the ideal point of access to Massaro's work, a metaphor and laboratory of a continuously evolving personality.” – Marco Paltrinieri

“A clever visual bildungsroman where, lurking behind his semiotic images, we find layers of the young artist’s influences..” – Aperture PhotobookReview by Federica Chiocchetti

“In Vietnik Luca Massaro rewrites the classical american tour imagery in a performative and meta-identity tone.” – Domus

“Who is Vietnik?” – Looking On Interview
Vietnik is a musical pseudonym born in 2010 as a SoundCloud username. The name derived from a dialogue in the film Masculin Féminin by Godard who speaks of Bob Dylan as a "Vietnik" (union of the words Vietnam and Beatnik). Of "Vietnik" in Godard, I liked the ambiguity and biographical inaccuracy, within the fiction of a film, on what in turn is a pseudonym of Robert Zimmerman, and the reasoning on terms like "persona", character", "mask", "male / female","double".

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