| Biennale di Senigallia – Intermezzo / Edizione Intermedia, “Does Photography Tell the Truth? (Legal Notes and Other Hesitations)”. We invite historians, legal experts, photographers, archivists, experts, and scholars of the visual arts to submit …
No images? Click here INVITO A PARTECIPAREBiennale di SenigalliaEdizione Intermedia – 2026
We invite historians, legal scholars, photographers, archivists, experts, and image scholars to submit contributions reflecting on the evidentiary and documentary role of photography in the digital age, across courts, archives, and everyday practices of the gaze. The study day will be held on Friday, June 19, 2026, at the San Rocco Auditorium, Piazza Garibaldi (Piazza del Duomo), Senigallia. For over 150 years, analog photography has entered courtrooms as a trusted old witness: not infallible, of course, but endowed with a physical form, a negative, and material traces that could be discussed, examined, and even contested. Today, in the age of infinite digital images, this trust suddenly seems naive. A file can be copied, rewritten, recomposed pixel by pixel: what we see on the screen is a weightless image, ready to change without leaving almost any trace.
The question is therefore inevitable: in the transition from the negative to the file, are we building a new Venice on a lagoon of data whose depth and consistency we no longer know? In this lecture, we will attempt to compare three figures: the judge, who must decide whether an image is trustworthy; the historian, who uses it as a document; and us, everyday viewers, who continue to believe in photographs “because they look real.” What remains of photographic truth when the medium dematerializes? And how long will this new city of images, built on the long wave of the digital age, stand before its foundations truly begin to crumble?
Let us consider the portrait reproduced on the facing pages. The painter met the model, the photographer met the drawing, the editor of *Partita doppia* met the albumen print, and the reader now holds the magazine in his hands. 1. Holbein the Younger meets his model—perhaps in London, around 1527. 2. Around 1860, the photographer-publisher of Series I encounters the drawing at the Uffizi in Florence and creates a glass negative. 3. From that negative, an albumen print is made, mounted on cardboard, stamped, captioned on print verso (difficult to access and to read), and sold to a first collector (name inscribed, pencil, mount verso). 4. In 2025, Atelier41 in turn encounters this print at a Paris auction. 5. In 2026, the reader of Partita Doppia finally encounters the image reproduced on the pages of the magazine. In the transition from the creation of the negative to that of the vintage albumen print, there is something surprisingly reassuring for the spirit: analog photography preserves a continuous, almost tactile trace of this journey. The negative holds the material memory of the encounter with the drawing; the print is its fragile yet faithful projection. In this small distance—from glass to albumen, from cardboard to the printed page—a form of truth is maintained that is never absolute, but leaves behind supports, clues, and evidence to be examined. For information and proposals for participation: Sergio Marcelli – tel. 380 1958024 – e‑mail: consigned
PARTITA DOPPIA is a small hand‑made seasonal journal of art, photography and architecture. The first issue includes a tribute to André Jammes and essays on William Kentridge, the Baselitz collection in Budapest, early photographic erotica, frontier photography in Senigallia, archival church account books and the first photographs of Greenland. It also opens a series of investigative photo stories, written almost like detective inquiries. The first of these appears as a feuilleton in this inaugural issue, and future numbers will continue this line of research and narration. This magazine is also available as editable text. For automatic translations, you can: copy the text and paste it into DeepL; use the DeepL browser extension to translate the PDF online; or view the digital version on our website: partitadoppia.org. With a little delay, each previous issue will be made freely available to everyone, while subscribers always keep one issue ahead.
PARTITA DOPPIA – Journal of art, photography and architecture ISSN 3103-5183 Subscription “D” for Digital Subscription “C” for Carta (Paper) Subscription “S” for Support or Surprises Single copies – available in city of Senigallia and the surroundings Modalità di pagamento / Payment method 1. PayPal 2. Bonifico bancario / Bank transfer Fatturazione e spese PayPal Per i pagamenti tramite PayPal è richiesto un supplemento del 5% per coprire le commissioni, oppure è possibile selezionare l’opzione “Amici e familiari” (quando disponibile). For payments via PayPal, a 5% surcharge is required to cover fees, or you can select the “Friends and Family” option (when available). La Fotografia è la più bella delle collezioni … Senigallia, città della fotografia, ospitera nuovi spazi dedicato alla ricerca e promozione della fotografia. Atelier 41 si trova 41 via fratelli Bandiera. Senigallia diventerà la Città delle collezioni. Any question : fotografia
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