Message of the Italian State Premiership

Messaggio del Presidente del Consiglio dei Ministri



Andretta Davide, Mayor of the Town of Pravisdomini

Patron Alberto, President of the Latitude Life Association


Battellini Vittorio, Qualified European Photographer

Borlenghi Carolyn Mara, University Professor, Photographer

Reid Elem, University Professor, Photographer

Galembo Phyllis J., University Professor, Photographer

Pancer Hally, University Professor, Photographer

Robbins Saul, University Professor, Photographer








more informations here






More about our Jurors:

prof. dr. SAUL ROBBINS


is interested in the ways people interact within their surroundings and the psychological dynamics of intimacy. His photographs are motivated by observations of human behavior and personal experience, especially those related to loss, unity, failure, and the latent potential residing in traditional photographic materials and personal history.

He received his MFA from Hunter College (CUNY) and is Adjunct Professor of Photography at ICP in New York City, consults privately, and leads Master Workshops internationally about communication and professional development.



Robbins is best known for the series “Initial Intake”, examining the empty chairs of Manhattan-based psychotherapy professionals from their clients’ perspective, referencing viewers perceptions, associations, and responses to this unique environment and the work that takes place there. In 2012, Robbins created “How Can I Help? – An Artful Dialogue”, inviting passersby to speak with other artists and himself about anything they wish, for free and in complete confidence, in a pop-up office and exhibition environment decorated with “Initial Intake”. “How Can I Help? – An Artful Dialogue”, was presented in Midtown Manhattan in 2012, at Photoville 2014, and during KOLGA TBILISI PHOTO, in The Republic of Georgia, in 2015, attracting more than 5000 visitors and over 150 individual meetings. He is currently working on a project addressing the mental health needs of New Orleans’ underserved communities while raising awareness about the systemic lack of and unequal access to resources there.

His work has been exhibited and published internationally and may be viewed at





prof. dr. HALLY PANCER


Hally Pancer was born in 1961 and raised in New York. She studied literature at Bennington college, finishing her studies at Parsons School of Design where she earned her BFA in photography.

In 1988 after receiving her MFA from Yale University and completing a large scale project on the United States, she moved to Israel where she continued her photographic work and became a professor of photography at the Bezalel Academy of Art and Design in Jerusalem, Hadassa College of Art and Design in Haifa and Kalisher School of Art in Tel Aviv. While in the region she completed a number of social documentary projects in an effort to influence public opinion regarding the Middle East Peace process.

From 1988 through 1993 she traveled from the north to the south of Israel for her portrait series; Some Arabs and some Jews. This work was exhibited, with Amanoot La’am, throughout the country reaching both Arab and Israeli populations.

From 1994-1997 she completed the project; The Golan, a series of landscapes from the disputed territory in the north of the country. This work was exhibited in the Israel Museum in Jerusalem in 1997. Her project, Beyond Borders (1995-2001) was a landmark program uniting Israeli and Palestinian students in a framework of co-existence, using photography as a mediator. The fruits of this project were exhibited and implemented in various areas of conflict such as Belfast, Dublin, Belgrade, Kosovo, Jerusalem and Gaza in addition to several cities in the United States and Europe.

From 1991 through 2005, parallel to these projects, she turned the lens on her family creating the series LIFELIKE.

In 2001 she moved to Paris where she has been a professor of photography at Parsons Paris School of Design, L’école Superieure du l’art et Design (ESAD) in Amiens and CEA Global Campus in Paris. In September 2011 she will be a visiting professor at Science Po in Paris.

Her work has been exhibited at the Museum of Modern Art (MoMA) in New York, The Israel Museum in Jerusalem and the Musée Jeu De Paume in Paris and is included in private collections around the world.

His work has been exhibited and published internationally and may be viewed at



There is no formula for a good photograph.

Years of teaching has taught me this.


Art is not science and great art is beyond language.

Decades of “making” photographs has taught me this.


Technique can be learned but passion is mysterious, unexplainable.

Some people possess it and others are riddled by it

but it cannot be learned.


In photography, as in any art form,

I am looking to be moved, shaken out of indifference.


I am deeply affected by things that resonate. Things that haunt me, that I can’t shake off.

Clear and simple.


Sometimes these things appeal to my intellect and other times they appeal to my emotions.

It is often something ordinary seen in some extraordinary manner.


It can be rather banal.

It can be very sophisticated.


Like I said, there is no formula for a good photograph.


Hally Pancer, Paris






Phyllis Galembo was born in 1952 in New York and lives in New York City.  She graduated with a Master of Fine Arts from University of Wisconsin at Madison in 1977 and has been a professor in the Fine Arts Department of SUNY Albany since 1978. Galembo has made over twenty trips to sites of ritual masquerade in Africa and the Caribbean, capturing cultural performances with a subterranean political edge. Her impressive body of photographs depicts the physical character, costumes, and rituals of African religious practices and their diasporic manifestations in the Caribbean and South America. Masking is a complex, mysterious and profound tradition in which the participants transcend the physical world and enter the spiritual realm. In her vibrant images, Galembo exposes an ornate code of political, artistic, theatrical, social, and religious symbolism and commentary. Using a direct, unaffected portrait style, Galembo captures her subjects informally posed but often strikingly attired in traditional or ritualistic dress. Attuned to a moment’s collision of past, present and future, Galembo finds the timeless elegance and dignity of her subjects. Galembo’s portraiture illuminates the transformative power of costume and ritual. She highlights the creativity of the individuals morphing into a fantastical representation of themselves, having cobbled together materials gathered from the immediate environment to idealize their vision of mythical figures. Her images capture the raw and often frightening aspect of ceremonial garb. While still pronounced in their personal identity, the subject’s intentions are rooted in the larger dynamics of religious, political and cultural affiliation. Establishing these connections is a hallmark of Galembo's work.

Galembo’s photographs are included in numerous public and private collections including the Metropolitan Museum of Art and the New York Public Library.  Her work has appeared in Tar Magazine, Damn Magazine, Photograph and Harpers. Galembo has appeared on CNN, NPR Radio and NBC Today.

Fellow, John Simon Guggenheim Foundation 2014; Hasselblad Masters Program 2001; Catalogue Grant, New York Council for the Arts, New York 1996; Senior Fulbright Research Award, Kings, Chiefs and Women of Power, Nigeria 1993-94;

Polaroid Corporation Research Materials Grant 1985, 1990, 1992; New York State Council on the Arts, Visual Artists Project Grant for Pale Pink 1982.

His work has been exhibited and published internationally and may be viewed at

















Original photo researches of our Juror

dr. Phyllis J.Galembo

© Galembo


prof. dr. REID ELEM


Reid Elem  is an artist and educator using the medium of photography to approach a variety of topics dealing with contemporary visual language within a cultural context. He received his Masters in Fine Arts in Photography from Savannah College of Art and Design in Savannah, Georgia. Reid’s work has been exhibited nationally and internationally and he is currently fulfilling a full-time position at Utah Valley University as an Assistant Professor of Photography.


My process tends to be cyclical. Research, write, photograph, repeat. In no particular order. In the beginning, I tend to have very lucid thoughts about different types of subject matter and then they evolve as I work through the concepts. I suppose the arrival at the finished series is a progressive and sometimes different version of what I had first imagined and I think that is a good thing. The work takes on its own clarity in that sense. If I am creating a staged photograph, I like to make crude sketches of the idea and work from those. Naturally, when I go to make the photograph, these sketches evolve and take on new meaning. This is one the things about photography that I love so much: its practice can change the way you see the world and how you process your thoughts and feelings. Critiquing with friends, family and colleagues is also essential to any new work I create. The way people react to my work helps influence its outcome.

His work has been exhibited and published internationally and may be viewed at




using photography as a catalyst for self discovery, Carolyn walks the line between hiding and performing. deeply interested in the idea that the hidden quadrant of a person's johari window holds the most powerful avenue for self expression, her photographic projects are a quest for understanding.

Carolyn Mara Borlenghi was born in houston, texas and was raised in an italian family. she began her photographic interests during her years at the sacred heart school in houston. she earned her BS in psychology with a minor in photography from southern methodist university (2002) and an MFA in photography, video and related media from the school of visual arts in new york city (2006).

Carolyn has exhibited in multiple gallery spaces in the united states, at PhotoFest Houston, been published in PDN magazine, Saplings Magazine, B&T Australia and sold work to private clients. her iPhoneography has been selected and featured in various competitions including the iPhone Photography Awards.

In early 2013 Carolyn began working on creating a place she could harness her love for iPhoneography into an educational offering. in the fall of 2013 she unveiled The iArtist Collective – an online, international iPhoneography school.  In january 2014 The iArtist Collective joined forces with The DEFINE School.  Carolyn teaches two classes at The DEFINE School as well as offers group mentoring.

His work has been exhibited and published internationally and may be viewed at




Si è diplomato in Grafica Pubblicitaria e Fotografia all'Istituto Statale d'Arte di Udine. Ha seguito workshop con grandi Maestri quali Lucien CLERGUE, Franco FONTANA, Uwe OMMER, Oliviero TOSCANI,Jeff DUNAS, Ralph GIBSON, Alberta TIBURZI, Manfredi BELLATI, Douglas KIRKLAND. La passione per le ambientazioni e la ricerca della luce gli hanno portato soddisfazione e riconoscimenti nazionali ed internazionali. Ha tenuto assieme ad altri colleghi Workshop inerenti la Fotografia. Nel 2004 ha ottenuto il QIP ( Qualified Italian Photographer), quattro menzioni speciali agli "Orvieto Fotografia Awards". Nello stesso anno a Treviso, il Premio Salamandra alla carriera (org. Siaf/Cna). Nel 2005 a Orvieto Fotografia ha ottenuto un "Orvieto Fotografia St Award" e una menzione speciale. Congresso Nazionale Francese di St Malo in Bretagna. Erano presenti oltre 450 fotografi professionisti transalpini. Sue immagini e testi sulla fotografia sono stati pubblicati su riviste specializzate italiane e straniere. Ha collaborato e collabora con alcuni siti internet che trattano di fotografia, tecnica e creatività ed è vicino quotidianamente a ragazzi e non che si interessano e amano la fotografia. E' uno dei pochi fotografi europei ad aver ottenuto il QEP (Qualified European Professional Photographers). La qualificazione Europea (QEP) è rilasciata dalla Federazione Fotografi Professionisti l'organo che raggruppa attualmente una quindicina di stati Europei tramite da una giuria internazionale ai fotografi che hanno raggiunto un alto livello artistico - creativo. Nel 2005 è stato relatore e testimonial del Fondo Orvieto Fotografia. E' associato a Tau Visual Associazione Nazionale Fotografi Professionisti.

His work has been exhibited and published internationally and may be viewed at

La Fotografia per Vittorio Battellini ©


La fotografia spesso non è paragonata ad altre forme di espressione artistica e più specificatamente, per quanto riguarda l'artigianato, un pò lontana da quelle forme di espressioni e capacità individuali tipiche dell'artigianato artistico. Nell'artigianato artistico si tende, giustamente, a premiare l'abilità, la capacità, l'estro creativo, la pazienza, il rispetto delle antiche tradizioni di un abile incisore, o di un liutaio, di un esperto intagliatore, di un paziente e abile tessitore, ecc. Ci sono altrettante forme di artigianato che richiedono un intervento manuale, di conoscenza,di tecnica, di cultura, di studio, di approfondimento che spesso non vengono riconosciute, almeno qui in Italia, come opera dell'ingegno del suo creatore. L'artigianato artistico è un bene prezioso per la società, è cultura, è identità di una regione, di un popolo, di una nazione, è punto di riferimento e stimolo per i ragazzi e nuovi talenti. Io stesso, quando ancora quindicenne passavo buona parte del mio tempo avvolto da una fioca luce in camera oscura, mi rifacevo alle composizioni chimiche e guardavo alle opere di quei piccoli o grandi fotografi che destavano in me interesse e ammirazione. La fotografia è un'arte giovane se paragonata ad altre. La stessa è cresciuta notevolmente, è diventata un mezzo di cultura, di informazione. Attraverso un'immagine scopriamo mondi, culture diversi dai nostri: la fotografia oltrepassa le barriere dei Paesi, l'ostacolo delle lingue, ci arriva in modo diretto. E' un linguaggio universale. Come diceva giustamente Feininger," la fotografia è la testimonianza dell'occhio e vale più di mille parole". Ma la fotografia non è solo uno strumento per "vedere", non si riduce solo ad un mezzo per " raccontare". La fotografia è anche mezzo di espressione, che si avvale di mezzi chimici o digitali, ma che restano mezzi per catturare. Negli ultimi anni e tuttora si dibatte sul concetto e sul valore dei sistemi analogici o digitali: dobbiamo considerare la macchina fotografica come un apparecchio che serve per catturare, un pennello, uno scalpello, che si, si è evoluto, ma che è rimasto comunque solo un mezzo, comandato, diretto da un individuo: l'uomo. E' sempre e solo la mente, l'ingegno e l'estro creativo dell'uomo/fotografo che fa la differenza. E' solo la sensibilità dell'individuo che crea questa differenza. Nell'osservare, nell'interpretare, nel cogliere, nel raccontare. Un grande fotografo diceva, tu sei quello che fotografi e fotografi quello che sei. Vero. Se la fotografia diventa parte di te, e tu vivi per lei e con lei, diventa parte del tuo essere, va a toccare e stimolare i tuoi sensi più profondi. Diventa parte di te e ogni tua immagine è in fondo una parte di te che nasce e rinasce ogni volta. Al di là delle mode, dei lavori commissionati, in fondo, se la nostra è vera passione, e non solo lavoro quotidiano ripetitivo, rimane impressa su di una pellicola o sensore che sia, la nostra vera anima.



R E G I O N E   F R I U L I   V E N E Z I A   G I U L I A






C O M U N E   D I   P R A V I S D O M I N I





We kindly thanks the whole Public Administration of the medioeval

C I T Y   O F   P R A V I S D O M I N I

Friuli Venezia Giulia Region - ITALY


Palazzo storico municipale di Pravisdomini

Via Roma n.31, 33080 Pravisdomini (PN), Italy

phone: +39 0434 645086

Comune di Pravisdomini


TOURIST INFORMATIONS               Historical informations about PRAVISDOMINI.               TOURIST INFORMATIONS

Come to visit this country, You are Welcome !


The Pravisdomini town and its suburbs throughout their history date back to a very ancient settlement, which can be recorded already around the Neolithic Period. This much is confirmed by several archeological discoveries of wrought flints along the shores of the Sile river at Panigai village (PN), the name of which (the toponym) emerges around the year 1000 AD and originates from the Latin language partum vice domini, which means  property of a landlord, historically demonstrated also with Gregorio “Squarra” della Frattina (1306 AD) and Enrico (1354 AD), both of whom were the vice domini in those years. These origins represent the touristic-cultural significance of this settlement. The Pravisdomini Villa became a parish already in 1434 AD, detaching itself from the town of Azzano. The Turkish would later destroy the primitive church of S. Antonio Abate, together with the rest of the area, during the invasion of 1477, which affected the entire Friuli-Venezia-Giulia region. The building was reconstructed eleven years later by the inhabitants and was consecrated on May 1, 1488 by the Bishop of Nice (France), as recorded in the ancient inscription found inside. Afterwards the church was adorned with frescoes and decorated by the famous painter from San Vito, Pomponio Amalteo. The painter’s giant Saint Christopher located on the south side of the external perimeter, and the majestic altarpiece of the Resurrection above the highaltar, still remain. Another touristic-cultural point of interest is the town of Barco (Suburb of Pravisdomini), of which origins remain a papal seal dated 1182 AD in which the Pope confirms to the Abbot of Sesto al Reghena (PN) the land property of “Barcum.” Said Villa had to move under the jurisdiction of the Panigai nobles, who later became owners under the feudal system. The Barco Church already existed in 1424 AD, but it is presumed that a primitive chapel dedicated to S. Martino already existed before the year 1000 AD, together with a small village of huts. Fascinating the bell tower, called “the leaning tower of Friuli-Venezia-Giulia,” which is distinguished by its heightened degree of inclination. It was reported that its base began to sink on one side still while the structure was under construction. The Frattina suburb, which  name derives from the Latin language Fracta which means cutted, signifying a land clearing, was entrusted as a feudal property to the powerful vassal family, the forefather of which was Marzutto, assigned to that jurisdiction in 986 AD. Such investiture was renewed by the Aquileia Patriarch in 1025 AD. Some historians affirm that the Frattina nobles, together with those from Panigai, come directly from the Squarra of Portogruaro (VE), landlords of the Fratta castle. Always held in high esteem by the patriarchs of Aquileia since 1282 AD, due to their loyalty, they became members of the Parliament of the Patria Friulana. Thanks to them, the area of Frattina became a fundamental and strategic point of importance for the protection of the Friuli-Venezia-Giulia region. The noble family permanently lived in this area starting from the year 1200 AD, during which time the construction of the castle took place, later destroyed at the start of the 15th century during the conflicts between the Patriarcato and the Serenissima. Also interesting the historic  small church of Santa Fosca, already recorded during the first decades of the 1300s AD. With regards to the Panigai suburb, it is considered one of the most fine medieval villages, the name of which probably comes from the word panico, indicating a grass plant similar to the millet, and which refers to the type of cultivation that originally took place in that area. The feudal jurisdiction on Panigai was undertaken by the lord Falcomario with the investiture dated on 1219 AD, and headquarter at the castle of the Sile, already built as a defense of the Patriarcato of Aquileia.