The Cassa di Risparmio di Jesi Foundation, in the rooms of Palazzo Bisaccioni, offers the public the exhibition dedicated to Alfredo Camisa, an emblematic photographer in the post-war artistic panorama. Starting from June 21, 2024, visitors will be able to attend the exhibition promoted by the Foundation in collaboration with the Municipality of Senigallia and the Alfredo Camisa Photographic Archive, a precious opportunity to closely observe the shots of the Bolognese master.

The exhibition “Alfredo Camisa, A decade as a 'committed amateur' in Italian photography”, curated by Marta Camisa, Director of the Alfredo Camisa Photographic Archive, consists of thirty-six photographs from the collection of the Municipal Museum of Modern Art and Photography of Senigallia. The shots are presented in series along the path: as visitors stroll through the room, they will first immerse themselves in the Market Stalls of Milan, then through the Impressions of the South, they will focus on Portraits, after a brief stop Behind the Scenes of the Piccolo Teatro, they will embark on a journey with Shots Beyond Borders, visiting the U.S.A. and Libya.

Originally from Bologna, he arrived in the Marche region thanks to his collaboration with the Misa Group, founded by Giuseppe Cavalli, where he befriended Piergiorgio Branzi, Mario Giacomelli, and Ferruccio Ferroni, contributing to the establishment of the historical archive of the Group. He approached photography out of fascination for art, initially following the trend of the time, but disappointed by the monotony of the genre, he felt the need to move beyond the soft still lifes; in him, a strong avant-garde spirit was already evident.  

Camisa explored the most intimate, humble, and human aspects of man, avoiding any sentimentality. His photography was a social commitment diluted by irony, and his contrasts were the result of a meticulous formal research in which all components were measured with precision, as a chemist would.

His career as a photographer was a parenthesis; he photographed for about a decade, then stopped, embittered by the limitations of professionalism. Thus, in 1961, he abandoned the practice, leaving a brief but indelible mark on the history of Italian photography.