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In the editorial field, he has published several photographic books both in the field of reportage (Cuba 2011) and on specific themes (Genova luce viva, also in 2011). From the catalog of the exhibition Passions, held at the Palazzo Ducale in Genoa from 28 June to 5 July 2011, the homonymous collection was taken, which constitutes a fixed point in the first part of his photographic evolution. Since 2010 you have begun a rich and fruitful collaboration with the Genoese writer and poet Bruno Cicchetti, author of numerous literary works. As part of this harmonious understanding, the photographic images included in Cicchetti’s pièce La Signora del Tango, published in 2011, were created. Vitali also took care of the photography for the theatrical representation of this “tango opera”, which took place during the Lunaria Festival 2011, also collaborating on the scenography and making the homonymous DVD which collects an interesting photographic documentation of the show and the backstage phases, as well as a series of video interviews with the actors and insiders. Cicchetti writes in the afterword of “La Signora del Tango”: “I met Lorenzo Vitali, a Milanese doctor and poet of photography, almost by chance. In fact, I saw his photographic interpretation of Verlaine’s verses on the web and I was struck by it, to the point that I reviewed his work, re-reading the French poet’s poetry through his photos and there was immediately a meeting of sensitivity. […] the sufficient knowledge of the world of photography allows me to understand his work technically as well and to grasp the expressive connections, the compositional syntax of his photographic communication, the poetics of violent contrasts and his heated luminism that open up inside the deepest darkness glimpses of light like torrents in flood in a starless night. […] Vitali uses the black and white emancipating it from the servitude of the gray scale to lay his eye and that of his lenses with a dense and dramatic brush, just as dramatic and virile is his conception of life and pain. […] And thus Vitali’s poetry is born from an almost heroic, deeply ethical, clear and never ideological approach to the reality that surrounds us”. In 2012, from the collaboration with Cicchetti, Holzwege was born, a new concept work in which the combination between poetry and photography is proposed following an inverse path compared to the usual one, starting from photography to get to poetry. From the presentation of the book: “Vitali’s poetics in these photos that outline two paths, the first towards the mountain, the second towards the sea, is singularly close to my stylistic and poetic research: I thought I saw, and so it seems to me that it is truly , in this refinement of his extraordinary black and white in very minute nuances, with strokes that introduce a calm and nervous movement at the same time, a material figuration and a contrast that is both vibrant and contained, which outline a further enrichment of his photographic discourse. These photos highlight a design of existence, refined and at the same time intensely counterpointed by vibrant chiaroscuro.”
Two other volumes Morgenstern followed in 2012 with similar dynamics, Liebestraum and Il pescatore di stelle in 2013. Also in 2013 he coordinated the Italian Report 2012 a collection of photographs and texts, born from the collaboration with a group of photographers, variously distributed throughout the country, and characterized by very different themes and styles. The authors have created this work, accompanied by a passion for photography and the desire to capture an instant of the life of our Italy in a historical moment that we can consider crucial for the nation. The book is placed in the field of photo-reportage. A collective photographic exhibition originated from the initiative. Report Italy 2013, Report Italy 2014, Report Italy 2015 followed, always associated with collective photographic exhibitions in various locations in Italy