There are images that tell us what we see. And then there are images that seem to hold something more fragile: a presence, a silence, an emotional distance, a truth that does not want to be explained.

The photography of Serena Salerno belongs to this second possibility of vision.

Born in Torre Annunziata, in a landscape dominated by the magnetic presence of Vesuvius and the restless light of the Mediterranean, Serena Salerno has gradually built an intimate, essential, deeply recognizable visual language. Her photographs never seek immediate effect. They do not seduce with the noise of spectacular imagery. They prefer to approach slowly, like things that ask for attention.

Her work inhabits a delicate space between portrait, personal diary, and author photography. Each image seems to arise from an encounter before it comes from a shot. There is always a relationship, a threshold crossed with gentleness, a silent pact between the observer and the observed.

In her photographs, light is never just illumination. It is emotional matter. It caresses, reveals, protects. It builds suspended atmospheres, where bodies, faces, environments, and everyday gestures seem to be removed from ordinary time to become memory.

When the female body enters her work, even in nudity, it never becomes an object of exhibition. Rather, it is a poetic territory, fragile yet powerful, through which to speak of identity, vulnerability, freedom, and presence.

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The choice of analog photography consistently accompanies this vision. Film imposes slowness, listening, attention. Each frame becomes a decision. Each wait is part of the image. In a time dominated by the continuous and distracted production of photographs, Serena Salerno chooses a more contained, almost meditative practice, where error, grain, and imperfection become part of the truth of the gaze.

Her journey has led her to engage with significant professional and cultural contexts, including living and working in Paris, a city that continues to be one of the symbolic centers of contemporary photography. Her works have been published and selected by platforms such as PhotoVogue, Perimetro, FOLKR, Flewid, and other platforms dedicated to contemporary visual research.

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But what makes Serena Salerno an interesting voice is not just external recognition. It is the consistency with which she pursues a silent and intense photography, capable of restoring dignity to the people portrayed without ever turning them into cold icons or consumable images.

Her photographs ask for time. They do not exhaust themselves in a quick glance. They linger, sediment, and open questions. They speak of bodies, homes, skin, light, waits, solitudes, proximities. They especially speak of the increasingly rare possibility of looking at someone without possessing them.

In this lies perhaps the deepest strength of her research: the ability to transform intimacy into language, fragility into image, human presence into a form of visual poetry.

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Currently, Serena Salerno is working on her first book, a visual and intimate diary that spans thirteen years of photographs dedicated to the female body and the presence of women. In this project, images, texts, and poems intertwine to create an open, fragile, and necessary emotional journey, inviting the viewer to enter the deepest origin of her research.

This is not just a photographic collection, but a sensitive analysis of the female world observed from shadowy areas, from shared and often silenced feelings, from that emotional matter that accompanies many women's experiences and rarely finds an authentic space for expression. The book thus emerges as a form of crossing: of bodies, memory, identity, obsessions that become language, and wounds that can slowly transform into image.

The book will be published by the independent publishing house Miracoli Visivi ( https://www.instagram.com/miracoli_visivi) thanks to the great support of Alessia Rollo ( https://www.instagram.com/alesrollo )
 

For ILAS, it is a source of pride to see Serena Salerno among its former students and to witness her journey affirming itself with such a personal, sensitive, and recognizable voice in the landscape of contemporary photography.

Serena Salerno on Instagram https://www.instagram.com/_serenasalerno_?

Website
www.serenasalerno.com

They have written about Serena

https://www.gqitalia.it

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From search engine to answer engine: how GEO, Generative UI and the new economy of citability are reshaping digital marketing

For more than a quarter of a century, the invisible architecture of the web was built around a model that seemed almost unchangeable: a user typed a few keywords, an algorithm scanned the web, and Google returned an ordered page of results. The famous “ten blue links” were not just a visual format. They were the way we learned to search, choose, compare, buy and inform ourselves.

That model defined Google‘s global success. At the same time, it gave rise to an entire industry: SEO, digital advertising, content marketing, web writing, landing page design and organic traffic measurement.

Today, that paradigm has not disappeared, but it has lost its exclusive centrality.

With the introduction and progressive expansion of AI Overviews — summaries generated by Gemini models directly within the results page — and with the rise of conversational interfaces such as AI Mode, Google is changing its nature. It is no longer only a search engine, a system that tells us where to find answers. It is increasingly becoming an answer engine: an environment capable of formulating a synthesis, organizing it, contextualizing it and suggesting further paths of exploration.

Traditional links will not vanish. They will continue to be part of the web‘s infrastructure. But their role is changing. They will no longer always be the starting point of the search experience. In many cases, they will become supporting elements, cited sources, documentary traces and authoritative confirmations within an AI-generated answer.

For brands, designers, copywriters, schools, companies and communicators, this shift marks a radical change in perspective. The question is no longer just: “How do I rank first on Google?”. The deeper question is: “Why should a generative system trust me?”.

1. The SERP becomes fluid: the rise of Generative UI

The most visible change is not only textual. It is also a change in interface.

For years, Google‘s results page was a relatively stable environment: a sequence of links, titles, descriptions, ads, images, maps and information boxes. Users compared options, chose a result and left Google to enter an external website.

With Generative AI, this experience becomes more fluid. The SERP is no longer just an ordered list of pages. It becomes a dynamic space, capable of adapting to the user‘s intent.

If someone searches for a definition, Google can provide an immediate summary. If they search for a travel itinerary, it can propose a structure organized by stages. If they ask how to build an editorial plan, it can generate an operational outline. If they compare products, courses, services or solutions, it can return tables, decision criteria, follow-up questions and suggested paths for further exploration.

The results page increasingly behaves like a generative interface: it does not merely display documents; it builds an environment for consultation.

This does not mean that every search will become a real-time mini-application. That would be an oversimplification. But the direction is clear: the result is no longer necessarily a list of external destinations. More and more often, it is an articulated answer generated within Google, integrating sources, formats and levels of depth.

2. The rise of zero-click searches

This transformation is part of a phenomenon that has already been widely observed: zero-click search.

The term refers to search sessions that end directly on Google‘s results page, without the user clicking through to an external result. The reason is simple: very often, the answer is already there. A date, a definition, a formula, a timetable, a summary, a review, a map, a comparison.

The most widely cited studies on the topic estimate that a very significant share of Google searches ends without a click to the open web. Percentages vary depending on markets, devices and research methodologies, but the strategic signal is clear: a growing portion of users‘ information needs is being satisfied directly within Google‘s ecosystem.

AI Overviews intensify this trend. If Google once displayed snippets, boxes and short answers, it can now generate more structured summaries. The user receives not just a clue, but an already organized answer. In many cases, there is no longer a need to open three or four different pages to reconstruct a general picture.

For publishers and brands, this scenario is ambivalent. On the one hand, part of informational traffic may decline. On the other, those cited as sources within an AI answer may gain a different and potentially more qualified form of visibility: one based less on simple ranking and more on perceived authority.

This is where the real strategic issue begins.

3. From SEO to GEO: being found is no longer enough

For years, SEO had one dominant objective: improving the organic ranking of a page in search results.

The logic was linear: identify a keyword, produce relevant content, optimize the title, structure, internal links, domain authority, speed, user experience and technical signals. The higher a page ranked in the SERP, the greater its chances of receiving traffic.

This model is not disappearing. SEO remains essential. But it is no longer enough.

In the new ecosystem, the goal is not only to be found by the user. It is to be understood, selected and cited by generative systems. This is where GEO — Generative Engine Optimization — comes into play.

GEO does not replace SEO. It extends it. While SEO works on positioning within search engines, GEO works on the possibility that a piece of content will be recognized as a reliable source by a generative engine.

In other words, it is no longer only a matter of optimizing a page for a keyword. It is about building content that can be used as trustworthy material to generate an answer.

The difference is decisive.

A piece of content can rank well and still be poorly citable. It may contain many keywords but few distinctive elements. It may be readable but offer no original data. It may be correct but not signed by a recognizable author. It may repeat what everyone else is saying without adding anything a generative system would consider genuinely relevant.

In the generative web, the question is no longer simply: “Is this content optimized?”. It becomes: “Does this content deserve to be used as a source?”.

4. From visibility to citability: the economy of sources

The true revolution is not that Google answers instead of websites. That is only the surface of the change. The deeper transformation is this: in the generative web, the value of content is no longer measured only by its ability to attract traffic, but by its ability to be recognized, selected and cited by an intelligent system.

For twenty years, digital marketing has pursued visibility. To rank first meant to be seen. To be seen meant to receive clicks. To receive clicks meant to exist.

In the generative ecosystem, this chain breaks. A piece of content can be fundamental even if the user never visits it directly. It can become part of the answer, feed a synthesis, influence a decision and lend credibility to a statement produced by artificial intelligence.

The new objective is not simply to appear. It is to become citable.

This is the economy of sources.

In this scenario, brands are no longer competing only for a position on the results page. They are competing for a position in the operational memory of generative engines. It is not enough to write correct content: brands must produce content that is verifiable, attributable, structured, updated, signed and recognizable as primary-source material.

A web page is no longer only a destination for the user. It becomes documentary evidence for the algorithm.

This is where many traditional SEO strategies reveal their limits. A text built only to intercept keywords may rank, but it will not necessarily be selected as a source. By contrast, a less “clever” but more thoroughly documented piece of content — with proprietary data, case studies, recognizable authors, external references, a declared methodology and traceable updates — has a stronger chance of entering the trusted perimeter of a generative answer.

The strategic question changes radically: not just “How can I please the algorithm?”, but “Am I solid enough to be used by the algorithm as a source?”.

This question marks the shift from SEO as a ranking technique to GEO as a discipline of computable authority.

5. Computable authority: when trust must leave traces

Authority has always been central to communication. But in the generative web, it takes on a new form.

It is not enough to be authoritative in a generic sense. Authority must be readable, verifiable and recognizable by digital systems. In other words, it must become computable.

A Large Language Model does not “trust” in the way a person does. It does not intuit prestige. It recognizes patterns, relationships, citations, consistency, recurrence, sources, signatures, structured data, external mentions and reliability signals distributed over time.

For this reason, digital reputation can no longer be built only within one‘s own website. It must leave coherent traces across the entire ecosystem.

An educational brand, for example, will not be considered authoritative simply because it claims to be so on its “About us” page. Its authority must emerge from a network of signals: recognizable instructors, clear programmes, verifiable qualifications, external articles, interviews, public appearances, awards, case studies, student work, mentions in independent media, updated professional profiles and genuinely useful technical content.

Computable authority is born from this distributed coherence.

It is not a trick. It is not a shortcut. It is not a new magic formula for “gaming” artificial intelligence.

On the contrary, it is a return to more serious communication: proving what you claim.

6. E-E-A-T: not an SEO formula, but a grammar of trust

In this scenario, E-E-A-T factors become increasingly important.

E-E-A-T stands for Experience, Expertise, Authoritativeness and Trustworthiness. These are concepts used by Google in its quality guidelines to assess the quality of content and the credibility of sources.

Too often, however, E-E-A-T is treated as an SEO checklist. Add an author bio. Insert a few links. Write an “About” page. Publish longer content. But this approach is reductive.

In the generative age, E-E-A-T becomes a grammar of trust.

Experience means showing real contact with the subject. Not an abstract text, but knowledge developed in the field.

Expertise means producing accurate, updated and technically sound content, capable of distinguishing between opinions, data and interpretations.

Authoritativeness means being recognized beyond one‘s own website: by other professionals, institutions, media, communities and independent sources.

Trustworthiness means making claims verifiable: indicating sources, dates, responsibilities, updates, limitations and possible margins of uncertainty.

In a web filled with generic AI-generated texts, these elements become decisive. AI can generate content. But it cannot invent an authentic professional history, a consolidated reputation, a network of real citations, a documented case study or proprietary data collected in the field.

That is why the future of communication will not be dominated by the greatest number of contents, but by the most grounded ones.

7. What AI cannot copy: proprietary data, method and point of view

The generative web makes it easier to produce content that is, on average, correct. But precisely for this reason, it makes everything that is not average, replicable or predictable more valuable.

If everyone can generate a guide on “how to create an editorial plan”, that guide loses value. If everyone can produce an article on “what brand identity is”, that content becomes noise. If everyone can publish a list of SEO tips, the difference will no longer lie in the mere presence of the text, but in the quality of the source.

What truly matters are the elements that AI cannot copy unless someone has provided them first:

proprietary data;

direct experience;

case studies;

local examples;

mistakes actually observed;

working methodologies;

interviews;

measured results;

before-and-after comparisons;

signed opinions;

cultural interpretations;

critical readings;

connections between different fields.

A generic article can be generated in seconds. A point of view cannot.

This is where the new editorial quality begins: not in the ability to say well what has already been said, but in the ability to add something to the web that was not there before.

For a brand, this means changing the question. Not: “How much content should we publish?”. But: “What content can only we publish?”.

8. The challenge for designers and copywriters: designing experiences, not just pages

The decline of the centrality of the ten blue links does not mean the death of the web. Rather, it marks its maturation.

If AI centralizes simple informational answers — definitions, basic tutorials, elementary comparisons, introductory explanations — users will visit websites mainly when they need something that an automatic summary cannot exhaust: experience, depth, identity, relationship, imagination and complexity.

This opens up a decisive challenge for digital design and copywriting.

A website can no longer be just a container of information. It must become a narrative and perceptual environment capable of making users feel the difference between a living source and a generated text.

Visual identity, layout hierarchy, image quality, writing rhythm, tone of voice, the clarity of micro-interactions, the care given to author pages and the coherence between content and brand will become even more important.

Paradoxically, the more AI makes basic information accessible, the more editorial, visual and cultural design will matter.

Copywriters will no longer merely write to intercept keywords. They will build trust.

Designers will no longer merely make pages attractive. They will make authority perceivable.

Brands will no longer merely need to be recognizable. They will need to be credible, citable and verifiable.

9. From keyword to context: marketing enters the conversation

The old search marketing model was dominated by the keyword.

Understanding what users typed meant intercepting a demand. Intercepting a demand meant building a page. Building a page meant competing for a position.

In the new scenario, the keyword does not disappear, but it becomes only one fragment of something broader: the conversational context.

Users no longer search only for “graphic design course Naples” or “best software for web design”. They formulate more complex questions, often in natural language: “Which path should I choose if I want to become a graphic designer from scratch?”, “Is it better to learn Figma or Photoshop?”, “How important is certification in a visual communication course?”, “How can I tell whether a school is truly authoritative?”.

These questions do not ask only for a list of results. They ask for guidance.

And to answer them, AI will tend to select sources capable of covering not just a keyword, but an entire semantic field: themes, relationships, skills, evidence, examples and reputation.

The challenge for modern marketing is no longer to intercept a word. It is to occupy a conversation.

Those who can build coherent, deep and interconnected content will not necessarily lose visibility. They may gain something more valuable: trust.

10. The new capital of brands: becoming cultural infrastructure

In the web of links, being visible meant occupying space.

In the generative web, being authoritative means becoming material for the construction of knowledge.

The difference is enormous.

A brand that produces generic content contributes to the noise. A brand that produces solid, documented, original and recognizable content can become infrastructure: a source that other systems, other people and other platforms can refer to.

This will be the new battleground.

Publishing a lot will not be enough. Publishing better will matter more.

Having a blog will not be enough. Having a point of view will matter more.

Claiming expertise will not be enough. Demonstrating it will matter more.

Being present online will not be enough. Being worthy of citation will matter more.

The new question for marketing will no longer be only “How many people find us?”, but “Which systems trust us enough to use us as a source?”.

This is a profound paradigm shift. In the web of links, authority was often a consequence of visibility. In the generative web, the opposite will happen: visibility will increasingly become a consequence of authority.

That is why GEO should not be understood as yet another technique for gaming the algorithm, but as a more mature discipline: designing content that is so clear, grounded, recognizable and verifiable that it can be cited without ambiguity.

Those who continue to produce generic texts to occupy keywords will become statistical noise.

Those who learn to build sources will become cultural infrastructure.

And in the next web, being infrastructure will matter far more than simply being visible.

In simple terms

For twenty years, we searched on Google by clicking through a list of websites. Today, Google is changing shape: at the top of the page, an AI-generated answer can appear, capable of summarizing information, proposing structures, suggesting further questions and guiding the user through a more conversational search experience.

This means that many people will find what they need without immediately clicking on an external website. This is the zero-click search phenomenon.

For companies, schools, professionals and creatives, everything changes. It is no longer enough to optimize a page in order to rank first on Google. The real challenge is making generative systems recognize that content as a reliable source.

This is the beginning of GEO: Generative Engine Optimization.

The new challenge will not only be to be visible, but to be citable. A brand will need to produce original, signed, documented, verifiable content that is recognized beyond its own website.

In other words: in the generative web, the winner will not be the one who publishes the most content, but the one who becomes a source people and systems can trust.

Essential sources and references

Google Search Central, “AI features and your website”, official documentation on AI features in Google Search.

Google Search Central, “Creating helpful, reliable, people-first content”, guidelines on useful, reliable and people-first content.

Google Search Quality Rater Guidelines, Google‘s official document on quality assessment criteria, including the E-E-A-T model.

SparkToro and Datos, “2024 Zero-Click Search Study”, a study on Google searches ending without a click to the open web.

Aggarwal, Pranjal et al., “GEO: Generative Engine Optimization”, an academic paper published on arXiv in 2023, focused on content visibility in generative engines.

Liu, Nelson F. et al., “Evaluating Verifiability in Generative Search Engines”, an academic paper focused on verifiability and citations in generative search engines.

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Between August and October, there’s a particularly dense window of deadlines for those working with images. We have selected four verified international competitions — based on structure, jury, and editorial continuity — deliberately excluding minor initiatives or those with unconfirmed deadline information from official sources. The criterion is not quantity, but the reliability of the data.

ND Awards — Neutral Density Photography Awards
Now in its twelfth edition, this New York-based competition dedicated to contemporary photography features six professional categories (Architecture, Editorial, Fine Art, Nature, People, Special) and five non-professional ones, with over forty subcategories overall. The jury includes gallery owners, editors, and established photographers.
Why participate: The ND Awards offers an extremely granular format that allows a single photographic project to be positioned in a specific niche, increasing the chances of being noticed compared to generalist competitions. The dual-level structure (Professional/Non-Professional) makes the comparison fairer, and it is one of the few competitions in this category with a September deadline, useful for those planning their submissions in the second half of the year.
Registration deadline: September 20, 2026
Official link: 
ndawards.net



Aesthetica Art Prize (Photography Category)
This is not just a photography competition, but a multidisciplinary award — now in its twentieth anniversary — that includes photography among the accepted mediums, alongside painting, video, installation, and digital art. The award is promoted by Aesthetica Magazine (UK) and includes an exhibition at a prominent public venue, along with £10,000 for the Main Prize and £1,000 for the Emerging Prize reserved for students and recent graduates.
Why participate: The value of Aesthetica lies in its positioning: alumni of the award have exhibited at Tate Modern, MoMA PS1, Barbican, and Centre Pompidou. For a photographer already working in a conceptual or research-based register, it’s an opportunity to step outside the purely photographic circuit and engage with contemporary art curators.
Registration deadline: registration by August 31, 2026; final submission of work by October 11, 2026 (the two dates appear on separate pages of the official site — early registration is an administrative step, the substantive deadline for work submission is in October)
Official link: 
aestheticamagazine.com/artprize



EVI MONO AWARDS
An international award dedicated to monochrome photography with a specific thematic focus: women and their stories. Based in Dublin but with an international scope, the competition is free to enter — a rare element in this landscape, where entry fees are often the norm — and is supported by a media partnership with FRAMES Magazine.
Why participate: The absence of entry fees lowers the barrier to entry, but the competition still maintains a qualified jury of international photographers and visual professionals. It is particularly relevant for those working on narratives of identity, memory, and resilience in black and white — a specific thematic ground that distinguishes it from more general monochrome competitions.
Registration deadline: October 1, 2026
Official link: 
evimonoawards.com



Chromatic Awards
The tenth edition of this competition entirely dedicated to color photography — a clear positioning that distinguishes it from monochrome competitions and makes it complementary to initiatives like EVI MONO. Twenty categories, divided between Professional and Amateur sections, with a final cash prize and publication in the annual competition volume.
Why participate: The choice to systematically exclude black and white makes Chromatic Awards one of the few competitions to treat color not as a technical variable but as the very subject of the competition — a useful angle for those working on a project where color is an integral part of the narrative, not just the presentation.
Registration deadline: early bird deadline July 19, 2026; final deadline October 25, 2026
Official link: 
chromaticawards.com

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A review that never stops challenging the viewer

From June 26 to July 16, 2026, Lineadarte Officina Creativa in Naples will host the nineteenth edition of VentiperVenti, the exhibition conceived and curated by Giovanna Donnarumma and Gennaro Ippolito. Nineteen editions are not just a demographic figure to archive: they represent a rare continuity in the landscape of independent exhibitions, capable of bringing together artistic research, critical reflection, and the enhancement of the territory over time without slipping into routine displays. The theme chosen for 2026, SECRET CABINET – Between dream, eros, and reality, confirms this vocation: not a comforting subject, but a conceptual knot that asks the participating artists, both Italian and international, to grapple with a slippery yet necessary terrain.

The bathroom as a device: intimacy turned into spectacle

The starting point of the curatorial path is one of apparent banality: someone shuts themselves in the bathroom, phone in hand, and from that locked door, they send out a selfie, a live stream, content that within seconds will reach thousands of foreign gazes — everyone, except those living under the same roof. It is an inversion worth highlighting for those involved in visual communication: the bathroom, the only domestic space where no one knocks, ceases to be the bastion of intimacy and becomes the backdrop of a performance directed at the entire world. Donnarumma and Ippolito build on this image a critical device rather than a narrative pretext, deliberately choosing a contemporary icon, immediately recognizable, instead of a reference already ennobled by the history of art.

From the mezzanine of MANN to the Creative Workshop: a genealogy of the reserved gaze

From this daily short circuit, the exhibition takes a leap backward, invoking the Secret Cabinet of the National Archaeological Museum of Naples. It is worth noting, for those unfamiliar with its history, that this name was attributed by the Bourbons to the rooms where erotic artifacts from the excavations of Pompeii and Herculaneum were kept away from public view and reserved, according to the period's formula, for "mature individuals of known morality." For over a century and a half, that collection has experienced alternating openings and closures tied to political seasons — from the opening desired by Garibaldi in 1860 to subsequent censorships — until its reinstallation and definitive opening to the public in April 2000. This story is not mentioned by VentiperVenti for erudite ornamentation, but because the question that has traversed it remains identical to that posed by the bathroom selfie: who decides what can be seen, by whom, and in the name of what. The only change, the curators note, is the hand that holds the key: no longer that of a sovereign or museum director, but that of each user in front of their screen.

The catalog as a critical tool: the essays by Pinto and Iorio

For several years now, the project has been supported by the essay contributions of Rosario Pinto and Mino Iorio, whose input to the catalog has stabilized into a structural collaboration with the two curators, based on a shared vision of the exhibition and a common research effort. These are not traditional accompanying texts, but interventions that place each edition within a broader historical, cultural, and theoretical horizon: it is this gap that transforms the catalog from mere documentation of the exhibition into an autonomous critical trace, destined to remain readable even after the closure of the exhibition halls.

An appointment that renews itself without repeating

In its nineteenth edition, VentiperVenti thus confirms a formula that does not merely aim to repeat itself year after year, but each time chooses a theme capable of uniting contemporary urgency and historical depth. Body, desire, memory, and representation once again open up, in this edition, to multiple levels of interpretation: an opportunity for the Neapolitan public and beyond to engage with an imagery that continues to question where the boundary truly lies between what we show and what we keep hidden.

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VentiperVenti 2026

SECRET CABINET – Between dream, eros, and reality

From June 26 to July 16, 2026

Vernissage June 26 at 6:00 PM

Lineadarte Officina Creativa, Via San Paolo 31, Naples

Admission is free. The exhibition can be visited on Mondays from 5:00 PM to 7:00 PM, Wednesdays from 10:00 AM to 2:00 PM, Fridays from 5:00 PM to 7:00 PM, and by appointment at the numbers 334 2839785 and 327 5849181 

TECHNICAL SHEET

Title: The Secret Cabinet. Between dream, eros, and reality

Edition: 19th edition of VentiperVenti 2026

Curators: Giovanna Donnarumma, Gennaro Ippolito

Location: Lineadarte Officina Creativa, Via San Paolo 31, Naples

Dates: June 26 – July 16, 2026

Vernissage: June 26, 2026, at 6:00 PM

Hours: Monday and Friday 5:00 PM–7:00 PM; Wednesday 10:00 AM–2:00 PM; by appointment

Admission: free

Catalog: with critical essays by Rosario Pinto and Mino Iorio

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