Angela Varricchio was born in Benevento, Italy, in 1979. In 2003 she took a Full Honours Degree in Science of Communication at the University of Studies of Salerno in Italy, expounding an original thesis in Poetics and Rhetoric about the visual mechanisms of photographic body persuasion of the UNHCR, Doctors Without Borders, Amnesty International, UNICEF, and FAO social photographies campaigns.
After a Post-degree specialization in Media Content Product Management, in 2005 she completed a Post-degree specialization in Photojournalism at Istituto Superiore di Fotografia e Comunicazione Integrata (I.S.F.C.I.), in Rome. During her studies, Angela attended workshops with Antoine D’Agata, Francesco Zizola, Patrick Zachmann, Angelo Turetta, Letizia Battaglia, and Franco Zecchin, as well as workshops with Lina Pallotta and Morten Andersen. Since 2007 Angela has been working as a freelance photojournalist and then as a multimedia journalist. In 2011 and 2012 she had been teaching photography and reportage.
In 2017 Angela she took a Master Degree of Arts in Photojournalism at Mid Sweden University, in Sweden. In 2018 she started a PhD in Media and Cultural Studies at Lancaster University, in the United Kingdom.
– Ascanio Ciriello. Italy. 2006. First prize.
– Orvieto Fotografia Professional Photography Awards. Italy. 2008. Bronze award in “Reportage” category.
– Orvieto Fotografia Professional Photography Awards. Italy. 2009. Bronze award in “Reportage” and “Open Photography” category.
– Premio fotografico 2009 Tau Visual. Italy. 2009. Honourable mention in “Travel and Ethnic” category.
– National Geographic Italian Contest, web gallery. Italy. 2010. Finalist.
– Intimalens Ethnographic Film Festival. Italy. 2012. Second place in “Photography” category.
– Leica Italia Award Contest. Italy. 2013. Finalist.
– Fiof Awards Nikon Photo Contest. Italy. 2014. Bronze award in “Reportage” and “Storytelling” category.
– Wide Foundation Documentary Photography Award. Sweden. 2015. Finalist.
– Fiof Awards. Fiipa. Italy. 2016. Second place in “Story” category.
– Magnum Photography Awards 2016. 2016. Selected in “Street photography” category.
– Siena International Photo Award. 2016. Selected in “Storyboard” category.
– Lensculture Photo Contest. 2016. Selected in “Street photography” category.
– Aspa -Alghero Street Photography Awards-. 2018. Finalist in “Travel” category.
– Scatti divini. Group exhibition. Firenze, Italy. 2007.
– Exposure: 4th Annual Photography Competition. Group exhibition. New York, USA. 2013.
– Intimalens Ethnographic Film Festival. Group exhibition. Caserta, Italy. 2012 /2013.
– Views from the North. Group exhibition. Sundsvall, Sweden. 2016.
In the introduction of War images, published by Medics Without Borders in 2001, a Radio France Inter journalist, Daniel Mermet, explains: “A reporter belongs to the pataphysical comedy. He believes to ride free around the four angles of the earth, but he is only a dog harnessed by his leash and the old cunning of the global powers, a puppet entangled in his barbed wired, knife’s edge, Ariadne’s thread, or rope around the neck. He is manipulated by himself, by the adolescent who lives inside him, Capa in Spain, Caron in Vietnam. At the bottom of his heart, hidden in the darkroom of his memories, there are two or three images which, before shaking up the world, shook up his world”.
I was sixteen years old. I was browsing randomly the book of Contemporary History about which I was passionate, when I was shocked at observing a series of Margaret Bourke-White’s black and white photographs of Buchenwald prisoners, a Goya’s print from Disasters of War, and an anonymous German soldier’s photograph, portraying a Jewish young woman obliged to wear a sign with the written “I am a bitch”. From that moment on, something changed. The indignation at the human rights violation, the racial hate and the brutality of war pushed me to become a photojournalist and a multimedia journalist, to lend the voice of silent and oppressed by a camera.
Photojournalism is a cultural tool to attract public opinion’s attention on features out of the majority of media agenda, because of the economic interests of the lobbies and stakeholders. The increasing power of lobbies in hiding or distorting reality has caused the crisis of independent publishing companies, with a slow and progressive narcotisation of the public audience. The consequence is the birth of an alarming ignorance or acquiescence about sensitive features and a lack of engagement in defending civil and human rights by the audience. Documentary is an ethical and civil revolution, fought through the acculturation process of the public audience. It is a precious mean of explanation of the historical and political motivations from which a daily news originates. At the beginning of 20th century by social reportage transvestites, drunks, bohemians and working class ceased being amorphous misfits, waste at the margins of society, as the conformist bourgeois thought established, and started to be considered human beings who need a political help by an organized social welfare. Following the same fil rouge in the contemporary era, by the use of a vast range of platforms and formats, and fighting against a general economic crisis of the classic form of journalism, multimedia journalism has to adapt to the new challenges, detecting the contradictions of the new economic system, functioning as a guardian of democracy. As a cultivate and politically engaged storyteller, a multimedia journalist must be pungent and incisive, to shape an alternative form of active intelligencija. He has not only the duty of reporting visually facts as an exercise of duty of information, but also to use the range of media and platforms as a tool of civil mobilisation, to raise questions about new forms of injustices.