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The beauty of classic cars.

Photography by Romana Zambon

In the strict classification that is given when the need to identify a category arises, taking a picture of a still car equals taking an industrial picture. This is the exact proof that every type of categorisation shows its limits if it faces pictures that exude originality at first glance. These are characteristics are reflected in the works created by Romana Zambon, who chose as subject of her portraits some wonderful historical cars. It is interesting to note how the author avoided both the heightened technicality necessary when describing these subject to the most minute detail and the traditional stereotype of the vehicle placed in a beautiful environment.

This because her project was trying to achieve a different result: that, completely unexpected, of handling the automobiles not as static historical objects but as elements with their own vitality with which to realise true portraits. The photographer regards them just as elegant ladies, she looks at them with curiosity and respect, chasing the most interesting perspectives but focusing with characteristic attention on the front. They reciprocate with some kind of boldness: from the top of her uniqueness, the red Cisitalia points her headlights as curious eyes and stretches the radiator in what looks like a faint smile while the Austin Healey - it is known how English ladies are - allows for an anonymous look as it is appropriate for aristocrats.


The 500 Spiaggina has a whole other character: with her wickerwork seats, the striped canvas convertible and the turquoise green chassis recalls the holiday atmosphere of the golden era and thus grants her captivating self while another Italian beauty, the Giulietta Spider just shows the harmony of her front side like a beautiful woman proud of not having resorted to any kind of restyling to maintain her charm. It is a whole different story when Romana Zambon has to tell the story of the fickle American ones that chomp at the bit as if the many horses and the cylinders hidden under the hood should suddenly make them kick off at high speed.


The photographer humours them, catches the Chevrolet - Sting Ray in a three quarter pose to highlight her arrow shaped silhouette but chooses a gentler pose for the less intimidating black model to enhance the beauty of the white striped tires, widens her stare on the Chevrolet as to convey the comfort of those ample seats, glares at a Continental from behind putting herself in the same position of who knows how many, waiting at a traffic light, staring at that strange wheel shaped trunk. But the real figure that sets these photographs apart is the black background on which the automobiles stand out: it's purpose is not only to highlight the beauty of the chassis', the gleam of the chrome plates, the harmony of the shapes, but it is also a way to tell us that at this point these cars are outside of time and we should look at them as such and it is no coincidence if some, having abandoned the streets, are now displayed in design museums. After all they are ladies, and therefore fully capable of posing for an audience.


Roberto Mutti

The career of Romana Zambon, architect and photographer, began with some participation in art fairs and collective exhibitions.
"I've always been attracted by the power of color that I associate with various states of mind", says Romana when she talks about her passion for photography, which she continues to explain that "this element, along with the harmony of forms, strikes my attention and turns it into a snap, in an instant, into photography".



AUTO CLASSICS 12.05.2019, with gallery Federica Ghizzoni (Milan), Dolder Grand Hotel (Dolder Sports), Zurich

PHOTOFESTIVAL con galleria Federica Ghizzoni, a cura di R.Mutti, Biciclette Art Gallery, Milano

FLOWERS –collettiva- con galleria Federica Ghizzoni, con Mia Photo Fair, Museo del paesaggio, Verbania

MIA PHOTO FAIR con galleria Federica Ghizzoni, the Mall, Varesine, Milano

IL PASSATO ALLA LUCE DEL PRESENTE con galleria Federica Ghizzoni, a cura di Roberto Mutti, Antico Oratorio della Passione di S.Ambrogio, Milano

OVER THE TOP -collettiva- galleria Federica Ghizzoni, Milano

AFFORDABLE ART FAIR con galleria Federica Ghizzoni, Superstudio Più, Milano



SCATTI PER BENE, asta benefica, Sotheby’s, Triennale, Milano

SCUSATE IL DISTURBO, asta benefica, a cura di R. Farinotti, PAC, Milano

Asta 1918 – FOTOGRAFIA, asta Finarte, Milano

14 anni, B-DAY!- collettiva- galleria Federica Ghizzoni, Milano


UNIMAGINABLE -collettiva- white garage studio, Milano

MIA PHOTO FAIR con galleria Federica Ghizzoni, the Mall-Porta Nuova, Milano



RIFLESSI, a cura di R. Mutti, galleria Federica Ghizzoni, Milano

SCATTI PER BENE, asta benefica, Sotheby’s, Triennale, Milano

RIFLESSI, testi di R. Mutti, Die Mauer arte contemporanea, Prato

JUNK FOOD –collettiva -a cura di F.Barbi Marinetti, Margutta Art Gallery, Roma

CHI E’ FELICE HA RAGIONE -collettiva- galleria Federica Ghizzoni, Milano

SCULTURE VIVENTI -collettiva- a cura di C. Ciana, La stanza del vento, Montemarcello

MIA PHOTO FAIR con galleria Federica Ghizzoni, the Mall-Porta Nuova, Milano



50x50, asta benefica, galleria Cavour, Padova

SCATTI PER BENE, asta benefica, Sotheby’s,Triennale,Milano

SCUSATE IL DISTURBO, asta benefica, a cura di R. Farinotti, PAC, Milano

ACQUA|ARIA|TERRA|FUOCO, a cura di R.Mutti e di A.Golizia, galleria Federica Ghizzoni, Milano



SCATTI PER BENE, asta benefica, Sotheby’s, Triennale, Milano

PRIMA DELLA PRIMA, asta benefica Finarte, a cura di R.Mutti, Frigoriferi Milanesi, Milano



SCATTI PER BENE, asta benefica, Sotheby’s, Palazzo Broggi, Milano

SCUSATE IL DISTURBO, asta benefica, a cura di R. Farinotti, Palazzo Isimbardi, Milano

DESIGN WEEK -con Ferrarelle- Triennale, Milano

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