“The landscape is not only, as geographers understand it, the physical space built by man in order to live and produce, but also the theater in which everyone plays their part, becoming at the same time actor and spectator.”
“Viaggio in Italia”, a 1984 enterprise headed by Luigi Ghirri, was without a shadow of a doubt the event that, more than any other, allowed Italian photography to free itself from the quagmire within which it was trapped, stuck between postcard views of amateur photographers, experimenters in search of sensational techniques and paparazzi in constant search of the scoop. “A type of photography untied, that is, from the ‘real’ places and from the linguistic awareness of the medium,” as Elena Bordignon writes.
“The Thin Line” by photographer Giada Ripa, succeeds in the intent, highlighted by Pippo Ciorra whose text is included in the book to frame the conceptual ground on which the project moves, to tell “[…] how in little more than twenty years the sensitivity and awareness of industrial and economic actors have changed […] for the better”.
The book is therefore configured as the documentation of the slow and precise scouting, from North to South, of the territories in whose subsoil there are networks and infrastructures through which green gases such as hydrogen and biomethane will flow, capable of bringing people closer and closer to renewable energy sources, and consequently more environmentally friendly.