How to build up a contemporary career in photography? What the devices to access, to enhance such career? In the end, who — nearly, what — can be defined as an emerging photographer in 2018?
Within the consolidated landscape of  promotion and circulation devices for photographers (portfolio reading, competitions, residences, studio visit), Futures works as a hybrid platform, aiming to match the specific contemporary dimension of current practices.

“Futures 2018”, on show at Camera, is the result of the selection of six young photographers from the Italian scene; still, result is quite an imprecise expression: curator Giangavino Pazzola describes the exhibition as a single step along six more complex paths, a collection of six studio visit opening a view on the way the photographic medium is nowadays interpreted and employed by artists.

The show is at the same time the Italian contribution to Futures — European Photography Platform, gathering ten different European institutions around a three-year project aiming to power up the careers of young photographers both in terms of visibility and professional network, and something more specific: the exhibition comes along a process of artist-curator dialogue, as the first chapter of six separate works, each of them open to a possible further development, co-produced by interested funding subjects.

Six unpublished contributions: the creation of a collective memories through rituals of possession in Sào Tomé, in Vittorio Mortarotti’s Unititled; Lorenzo Pingitore, chasing in Parmenide a slightly theoreticalwhite sphere through the more or less spontaneous spots of iconic Italian ladscape; the narration built from a single hstoric document mixing visuals and physical “evidences”, fiction and reconstruction, created by Umberto Coa in Ne bastavano quarantacinque; the constant or current uncertainties that landscape in Calabria has to face, in the comparison made by Armando Perna In the Un paesaggio instabile. Calabria 1783/2018 series, between contemporary pictures and 18th century drawings by Vivenzio; Lungo Mare Canepa, the folding leporello book dedicated by Anna Positano to a scientific survey on the denial of the sea in west Genoa, like a contemporary Ed Ruscha denying any chance of variation; Stanza Con Sedia Da Arbitro E Ruota Di Marmo, in the end, is an interior view realized by Teresa Giannico by taking photos of a diorama that is destroyed once the picture is taken.