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

1. Xposure International Photography Awards 2026/27

One of the most interesting international photography awards for those looking for a global platform, the Xposure International Photography Awards are part of the major photography festival held in Sharjah, in the United Arab Emirates. The competition is free to enter and open to photographers from around the world, with categories covering different genres and a strong focus on visual storytelling, research and the ability of images to capture contemporary stories.

Selected works become part of the Xposure exhibition and curatorial circuit, gaining visibility among photographers, editors, curators and international industry professionals. This open call is particularly suitable for photographers who already have a mature project or a coherent series to present to an international audience.

• Photography deadline: September 5, 2026
• Theme: international photography, multiple categories
• Entry fee: free
• Website: awards.xposure.net

2. LensCulture Street Photography Awards 2026

One of the leading global references for street photography, the LensCulture Street Photography Awards give photographers the chance to present their work to an international jury of professionals, with opportunities for visibility, cash prizes and inclusion in a group exhibition.

Street photography is a language that requires eye, timing, sensitivity and the ability to read urban life. This award is suitable both for photographers working with powerful single images and for those who have developed a coherent series about everyday life, human landscapes, city spaces or social change in the public realm.

An important note for students and emerging authors: the first single-image submission is free, while additional images and series are subject to standard entry fees, with student discounts available.

• Deadline: June 17, 2026
• Theme: street photography
• Entry fee: first single image free; additional images and series require a fee
• Website: lensculture.com/photo-competitions/street-photography-awards

3. XIII Premio Scuola di Paesaggio “Emilio Sereni”

For those interested in landscape photography and territorial documentation, this European competition promoted by the Alcide Cervi Institute is an important cultural opportunity. The 2026 edition is dedicated to the theme “Lost Landscapes, Rediscovered Landscapes” and is open to professional and amateur photographers from Italy and Europe.

It is especially relevant for photographers who use the medium as a tool for observing territory: environmental transformations, the memory of places, traces of human labour, rural landscapes, ecological fragility and new forms of inhabiting space can all become visual and narrative material.

The award ceremony and the opening of the exhibition of selected works will take place in Gattatico, in the province of Reggio Emilia, during the Scuola di Paesaggio.

• Deadline: June 21, 2026
• Theme: “Lost Landscapes, Rediscovered Landscapes”
• Open to: professional and amateur photographers from Italy and Europe
• Award ceremony: Gattatico, August 25, 2026

4. FotoDoc Photo Contest 2026

FotoDoc Photo Contest is an international competition dedicated to authorial documentary photography, designed for photographers developing in-depth visual narratives with a personal, social or cultural dimension.

The contest includes three categories: single image, photo essay and portfolio. It is therefore suitable both for those wishing to submit a standalone photograph and for authors who have built a more articulated project over time, through research, observation and narrative continuity.

Submission and the initial review of projects are free. A fee is required only if the work is selected by the curators for publication. The overall winner of the Portfolio category will also have the opportunity to present the project in São Paulo, Brazil.

• Deadline: June 30, 2026
• Theme: authorial documentary photography and long-term projects
• Entry fee: free submission; $29 USD fee only if selected/published
• Categories: single image, photo essay, portfolio

5. Monochrome Awards 2026

One of the best-known annual competitions devoted exclusively to black-and-white photography, the Monochrome Awards are open to professionals and amateurs over the age of 18. The competition accepts various forms of monochromatic photography, including toned images such as sepia or selenium, as long as they are built around the expressive power of black and white.

The award is particularly interesting for photographers working with light, composition, texture, contrast and visual synthesis. Black and white is not merely an aesthetic choice: it can strengthen the structure of an image, isolate the subject and give greater intensity to the narrative.

The overall winners receive the titles of Monochrome Photographer of the Year and Monochrome Discovery of the Year, along with cash prizes and publication in the official award book. The summer deadline is the early entry window, useful for submitting at a reduced fee before the final autumn deadline.

• Early deadline: July 5, 2026
• Theme: black-and-white photography
• Entry fee: from $17 to $27 USD per image, depending on category and entry window
• Website: monoawards.com

Graphic Design, Illustration and Visual Communication

6. Posterheroes 2026

Now in its 15th edition, Posterheroes is one of the most recognizable international contests in the fields of illustration, graphic design and social communication. Promoted by the Associazione Culturale Plug, it invites creatives from all over the world to design posters capable of addressing contemporary issues through visual synthesis, conceptual strength and communicative responsibility.

The 2026 theme, “Still Human”, explores the increasingly complex relationship between human beings, automation and artificial intelligence. Participants are invited to reflect on the boundaries between delegation and responsibility, algorithmic efficiency and human presence, technology and critical awareness.

Each creative may submit up to three posters in vertical 70×100 cm format. Entry is free, and cash prizes are available, along with the possibility of being included in international exhibitions and initiatives connected to the project.

• Submission deadline: July 31, 2026
• Theme: “Still Human”
• Format: vertical poster, 70×100 cm
• Entry fee: free
• Prizes: Favini Award of approximately $2,910 USD and Fondazione Time2 Award of approximately $1,746 USD
• Website: posterheroes.org

7. Sa Pizzedda – New Brand Identity

TerraViva Competitions has launched an open call for graphic designers, brand designers and visual identity specialists. The aim is to redesign the brand identity of Sa Pizzedda, a food brand connected to the tradition of Cagliari-style pizza al taglio and characterized by an urban, pop and contemporary visual language.

The brief calls for a strong, recognizable identity capable of translating the character of the brand into a coherent visual system. This is not simply about designing a logo, but about imagining a graphic universe that can be applied to signage, packaging, digital materials, social media communication and in-store touchpoints.

The competition offers cash prizes and uses progressive entry fees: those who register during the early window can enter at a reduced rate, while final project submission is scheduled for September.

• Early registration: by June 26, 2026
• Final submission: by September 25, 2026
• Theme: brand identity for an urban/pop food brand
• Prizes: approximately $6,983 USD in cash, with a declared total prize pool of approximately $9,311 USD
• Entry fee: Early approximately $57 USD, Standard approximately $80 USD, Late approximately $127 USD
• Website: terravivacompetitions.com

8. Architecture & Design Collection Awards 2026

The Architecture & Design Collection Awards are an international platform open to studios, designers and creatives from around the world. Although rooted in architecture and design, the awards include categories that are also relevant to visual communication: brand design, packaging, graphic design, web design and identity design.

This is not primarily a cash-prize award. Its value lies in visibility, authority and professional positioning. Winners receive certification, a trophy and promotion through the award’s communication channels, reaching studios, companies, designers and professionals across the creative industries.

It is a suitable call for those who already have solid professional projects to submit in an international context, especially when the work combines design, communication, user experience and visual identity.

• Early Bird deadline: June 10, 2026
• Late registration closes: October 16, 2026
• Final submission deadline: October 19, 2026
• Categories: packaging, graphic design, communication, web design, brand design
• Entry fee: approximately $151 to $244 USD
• Website: architecture-collection.com

9. PhotoVogue Global Open Call 2026 – Brave New Visions: Creativity as Rebellion

PhotoVogue, Condé Nast’s global platform dedicated to new languages in photography and visual culture, launches its 2026 international open call under the title “Brave New Visions: Creativity as Rebellion”.

The call is open to artists, photographers, filmmakers and multimedia authors from around the world, as long as they are over 18. Rather than asking for a traditional illustrative response to a theme, it calls for a strong authorial position: images capable of responding to the present, to visual repetition and to the indifference of the contemporary image stream.

A wide range of genres is accepted, from fashion to documentary, portraiture, fine art, experimental and multimedia practices. The aim is to identify visual work that brings a necessary, personal and critical point of view. Grants are available, along with potential visibility through Vogue channels and the PhotoVogue Festival.

• Deadline: September 11, 2026, 11:59 p.m. CET
• Theme: photography, video and multimedia as creative and critical acts
• Entry fee: free
• Prizes: $12,000 USD in total grants
• Open to: artists and visual authors aged 18 and over
• Website: Vogue / PhotoVogue

10. International Poster Competition 2026 – INTL

For those working in poster design, editorial graphics and visual communication, the International Poster Competition organized by INTL is one of the most recognizable international open calls in the field. Launched in 2014, it has gathered thousands of posters from around the world, becoming a platform for observing contemporary graphic design.

The competition has an open brief: posters may be client work, self-initiated projects or pieces created specifically for the competition, as long as they meet the requirements set out in the rules. It is therefore an interesting opportunity for designers who want to work on visual synthesis, typography, the relationship between image and message and the communicative power of the poster.

Selected posters may be included in the International Poster Exhibition in Glasgow, the online exhibition and the International Poster Book. The top three winners also receive cash prizes.

• Deadline: August 31, 2026
• Theme: contemporary poster design
• Entry fee: approximately $27 USD per poster
• Prizes: approximately $673 USD for first place, $404 USD for second place and $135 USD for third place
• Opportunities: international exhibition, publication and visibility through INTL channels
• Website: intl.international/posters

In Summary

From documentary photography to poster design, from street photography to food brand identity, summer 2026 offers a wide range of opportunities for those working with images and looking to engage with international professional contexts.

Some competitions are completely free and especially accessible, such as Xposure, Posterheroes and PhotoVogue. Others require an entry fee, but may offer visibility, publications, prizes or inclusion in specialized exhibition circuits. The best choice depends on the kind of work you want to highlight: a powerful single image, a photographic series, a documentary project, a visual identity or a poster.

Before entering, always read the full rules carefully. Check file formats, required dimensions, maximum number of works, language requirements, deadline time zone and usage rights granted to the organizer. These are technical details, but they often make the difference between a valid submission and one that is rejected.

To keep track of upcoming calls, it is useful to regularly monitor the official websites of the awards, specialist photography calendars and professional design portals. ReflexList remains a useful reference for photographers, while Professione Architetto, AIAP and international graphic design and poster design platforms are valuable tools for discovering new opportunities.

Choose your challenge, prepare your project carefully and submit only work that genuinely fits the brief. In international competitions, the winning image is rarely the one that is simply “beautiful” in a generic sense, but the one that feels precise, necessary and memorable.

Close your eyes. Think of three jingle notes you recognise immediately. The sound of a notification you instantly know which app it comes from. The characteristic noise of a product you open, a click, a mechanical snap that evokes a specific brand.

If you can do that — and you almost certainly can — you are experiencing first-hand one of the most underrated and at the same time most powerful marketing assets: sonic identity.

Sound branding is the discipline concerned with designing this auditory layer of the brand experience. It is not an entirely new concept: radio advertising in the 1930s had already grasped the power of sound as an emotional vehicle. In recent years, however, the discipline has evolved into a structured strategic system, increasingly integrated into branding, design and customer experience activities.

In a context of unprecedented visual saturation, where consumers are exposed every day to thousands of graphic stimuli and have developed ever more effective filters to ignore them, sound finds a different point of access. More direct. Less crowded.

How sound activates the emotional brain

Numerous studies in the field of cognitive neuroscience have highlighted how auditory stimuli can rapidly activate the brain circuits involved in processing emotions and memory.

This is no coincidence. From an evolutionary standpoint, sound often represented the first signal of danger or opportunity: a sudden noise in the environment demanded an immediate response, even before the eye could identify what was happening.

This mechanism continues to influence the way we perceive the world. For a brand, it means being able to create extremely rapid emotional associations, often before any conscious rational evaluation takes place. Emotion precedes judgement, and sound becomes an accelerator of recognition.

The most celebrated case remains that of Intel. The four notes introduced in 1994 have become one of the most recognisable sonic assets in the world. In a matter of seconds they manage to evoke values such as innovation, reliability and precision without any visual support whatsoever.

Sound branding as a proprietary asset

One of the most interesting aspects of sonic identity is that, unlike an advertising campaign, it is not designed to be consumed and replaced.

An effective sonic logo is a proprietary brand asset. The more consistently it is used over time, the more its perceptual value increases. Exactly as happens with a graphic mark, a colour palette or a distinctive typeface.

For this reason, the most forward-thinking companies do not regard sound branding as an occasional music production, but as a stable component of their brand equity. An investment that generates recognition over the long term and proves particularly difficult for competitors to replicate.

The levels of sonic identity

A complete sonic identity does not amount to a single jingle. It is a system.

Just as with a visual Design System, every element performs a specific function within a coherent language.

The sonic logo (Sonic Logo)

It is the shortest signature of the brand, generally between two and five seconds long. It is the auditory equivalent of the graphic mark: it must be immediately recognisable, work across different contexts and condense the emotional DNA of the brand in its most essential form.

The main theme

This is a more articulated composition, used in commercials, institutional videos, events and branded content. It takes up and develops the motifs of the sonic logo, transforming them into a broader musical narrative.

UI Sounds

These are the sounds that accompany digital interactions: notifications, confirmations, loading states, error alerts. With the proliferation of apps, software and digital products, these micro-moments have become an integral part of the brand experience.

The sonic environment (Sonic Environment)

This is the most immersive level. It includes music in retail spaces, the soundscape of events and installations, and audio experiences designed for physical environments.

Research into the relationship between music, dwell time and purchasing behaviour has been active for decades, but today these elements are designed with far greater strategic rigour than in the past.

Brands that do it well

Mastercard

When Mastercard introduced its global sonic identity in 2019, it did not simply create a jingle. It developed a modular, adaptable system suited to different cultural contexts.

The same melodic core can be reinterpreted in a jazz, electronic, orchestral or acoustic style without losing recognisability. It is an approach that closely mirrors the logic of design tokens applied to the world of sound: the structure remains constant, while the execution adapts to context.

Spotify

Spotify faces a particular challenge: being a music platform with its own sonic identity without competing with the music it distributes.

The solution was to build a system of UI sounds that is extremely discreet. Minimal sounds, almost invisible, that accompany the experience without interrupting it, yet contribute to creating a sense of continuity and familiarity.

Netflix

The famous «ta-dum» is probably the most effective sonic logo of the last decade.

Its strength lies not in musical complexity, but in consistent repetition. Every time that sound plays, it marks the beginning of an experience. It has become a kind of contemporary ritual shared by millions of people around the world.

Sound branding in the video-first content era

The rise of TikTok, Reels and YouTube Shorts has brought sound back to the centre of content design.

In these formats audio is not a decorative element. It is often the first emotional and narrative hook. In many cases it is sound — more than imagery — that generates trends, imitations and derivative content.

For brands this creates a dual opportunity.

On one hand, it becomes necessary to develop sonic identities capable of working within a matter of seconds. On the other, there emerges the possibility of creating assets designed to be shared, reinterpreted and remixed by users.

When this happens, sound ceases to be a mere accompanying element and becomes content in its own right.

How to evaluate a brand’s sonic identity

For those working in visual communication, developing sensitivity towards the sonic dimension does not mean becoming composers.

It means learning to ask the right questions.

• Is this sound consistent with the brand’s values?
• Is there a clear relationship between the sonic logo and the UI sounds?
• Is the sonic identity recognisable even in the absence of visual support?

A useful exercise is to listen to a commercial without watching it. If the brand’s positioning comes through nonetheless via the sonic language, we are probably looking at a strategically designed system. If not, sound is performing a purely decorative function.

Brands investing today in consistent sonic identities are building a competitive advantage that takes years to develop and consolidate. Just as with typography, colour or visual language, sound becomes an integral part of the collective memory associated with the brand.

OpenAI Opens the Door to Advertising: A Shift Set to Redefine the Relationship Between Brands and Consumers

For more than two decades, digital marketing has revolved around two dominant models: search engines and social media platforms. Today, however, the rise of generative artificial intelligence is introducing a third way for people and businesses to interact: conversation.

With the launch of its first advertising tests within ChatGPT, OpenAI is ushering in a new phase in the evolution of the web, one in which users are no longer simply searching for information but engaging in dialogue with an intelligent assistant that helps them discover, evaluate, and choose products and services.

This represents a fundamental shift, with the potential to be as transformative as Google’s impact in the early 2000s, when it fundamentally changed the way people accessed information online.

How Advertising Works on ChatGPT

After outlining the principles that will guide its advertising model, OpenAI launched its first advertising tests in the United States on February 9, 2026. The program has since expanded to additional international markets through a series of pilot initiatives.

Ads are displayed exclusively to adult users on the Free and Go plans, while Plus, Pro, Business, Enterprise, and Education subscribers continue to enjoy a completely ad-free experience.

The most important aspect of the new system is that advertising does not influence ChatGPT’s responses in any way. OpenAI has established a clear separation between informational content and sponsored content.

Specifically:

• ChatGPT responses are generated solely based on what is most helpful to the user;
• advertisements are clearly labeled as sponsored content;
• ads are visually separated from the conversation;
• advertisers cannot modify or influence the assistant’s responses.

In other words, ChatGPT maintains its role as an independent information tool rather than becoming a disguised advertising platform.

From Keywords to Conversational Intent

The real revolution lies not in the presence of ads, but in the criteria used to display them.

Google built its success around the concept of keywords: users entered a word or phrase, and the system delivered advertisements related to that search query.

ChatGPT introduces a model based instead on conversational context.

OpenAI describes this approach as a form of matching driven by the topics and intentions expressed by users during a conversation. Businesses are no longer thinking solely in terms of keywords but in terms of needs, interests, and real-world situations.

If someone is discussing nutrition, travel, photography, professional education, or technology purchases, the system can understand the broader context of the conversation and present relevant advertisements.

For example, a user exploring a creative career path might be shown ads for specialized training programs, master’s degrees, or professional services related to that field.

The focus therefore shifts from individual keywords to the broader need expressed throughout the conversation.

Privacy and User Protection

One of the most sensitive aspects of any advertising platform is, naturally, data privacy.

OpenAI has stated that advertisers do not have access to conversations, chat history, memory data, or personally identifiable information.

Advertisers cannot access names, email addresses, conversation content, or any other personal user data. Instead, they receive only aggregated campaign performance metrics such as impressions, interactions, and clicks.

The system also includes specific safeguards:

• advertising is excluded for underage users;
• ads are not shown alongside sensitive topics such as health, mental health, or politics;
• users can manage ad personalization preferences;
• users can delete advertising-related data at any time.

OpenAI’s stated objective is to build an advertising ecosystem that maintains high standards of security, transparency, and user control.

From Large Agencies to the Self-Serve Model

Throughout 2026, OpenAI has gradually expanded its advertising program by introducing tools designed for advertisers and opening the platform to a growing number of businesses.

Among the most significant developments are the self-serve Ads Manager and conversion measurement systems that allow advertisers to evaluate campaign effectiveness through privacy-conscious, aggregated metrics.

The long-term goal is to develop an advertising ecosystem capable of supporting multiple formats, objectives, and purchasing models while maintaining a clear distinction between sponsored content and AI-generated responses

International Expansion and the Italian Market

Following its U.S. launch, OpenAI progressively expanded advertising tests to additional markets, including Canada, Australia, and New Zealand.

Pilot programs were later announced for the United Kingdom, Mexico, Brazil, Japan, and South Korea, with the aim of gathering insights and real-world feedback before a broader rollout.

At the time of writing, no official date has been announced for the introduction of ChatGPT advertising in Italy.

However, the company has stated its intention to gradually expand the program into additional international markets while maintaining a cautious, data-driven approach based on results from countries already participating in the pilot.

How Brands Should Prepare Today

The temporary absence of the service in the Italian market should not lead businesses into a wait-and-see approach.

Artificial intelligence is already changing how people discover products, services, and educational opportunities.

Increasingly, users are asking conversational AI assistants which profession to pursue, which software to adopt, which camera to purchase, which consultant to hire, or which school to attend.

In this environment, content quality and brand authority are becoming increasingly important.

Organizations that succeed within these emerging conversational ecosystems will be those capable of building strong reputations supported by genuine expertise, high-quality content, and recognition from authoritative sources.

From Search Engine Optimization to AI Optimization

The arrival of advertising on ChatGPT is part of a broader transformation already reshaping digital marketing.

An increasing number of companies are investing in AI Optimization (AIO) and Generative Engine Optimization (GEO), a set of practices designed to make content, websites, and publications easier for generative AI models to discover, interpret, and cite.

According to many industry analysts, this evolution could represent a shift comparable to the emergence of SEO in the early 2000s.

In a world where millions of people are beginning to seek advice directly from artificial intelligence, visibility no longer depends solely on search engine rankings.

It is becoming increasingly important to be recognized as an authoritative, trustworthy, and up-to-date source within the information ecosystems used by conversational assistants.

Industry experts generally agree that the organizations most likely to benefit will be those capable of demonstrating strong signals of Experience, Expertise, Authoritativeness, and Trustworthiness — the well-known E-E-A-T principles that are becoming increasingly relevant within the AI ecosystem as well.

A New Frontier for Digital Communication

For more than twenty years, marketers have learned how to communicate with the algorithms that power search engines and social media platforms. Today, a new chapter is beginning: communicating with conversational algorithms.

The difference is substantial. In traditional search environments, brands primarily competed for clicks. In the age of artificial intelligence, they compete for trust, authority, and relevance within a conversation.

Advertising on ChatGPT represents only the first step in a transformation that is set to redefine the relationship between people, content, and businesses.

For professionals working in communication, marketing, and education, understanding these dynamics is not about preparing for a distant future. It is about correctly interpreting a transformation that is already underway.

As with every major technological revolution, the greatest advantages will belong to those who adapt first—not simply by purchasing advertising space, but by building authority, credibility, and genuine value within an ecosystem increasingly shaped by artificial intelligence.

In Simple Terms

Until recently, being found online largely meant appearing among Google’s top search results. Today, more and more people are doing something different: instead of searching, they are asking. They ask artificial intelligence which course to take, which product to buy, or who they should turn to for advice.

OpenAI has begun introducing advertising into these conversations, but only for users on the Free and Go plans, and without allowing ads to influence the assistant’s responses.

For businesses, this changes the rules of the game. Paying for visibility or winning a click will no longer be enough. Increasingly, success will depend on being recognized as a reliable, knowledgeable, and authoritative source, because these are the signals that AI systems tend to regard as the most relevant.

Advertising on ChatGPT is not yet available in Italy, but companies that begin building reputation, authority, and high-quality content today may find themselves in a strong competitive position when this new channel eventually arrives.

A significant strand of contemporary European photography no longer revolves around the event itself, but rather around persistence. Not the occurrence, but what remains after disappearance: traces, residues, surfaces marked by time. It is a form of photography that renounces the immediacy of the spectacular image in order to investigate what time consumes, alters, or erases. It is within this trajectory that the work of

Observing her practice, one often has the impression that the image does not emerge from a desire to represent reality, but rather from a confrontation with absence. Her photographs seem to interrogate what survives: places that have exhausted their original function, forgotten archives, marginal identities, biographical fragments rescued from oblivion. At the centre of the image there is almost always a form of lack. It is precisely this tension that removes her work from the more conventional categories of contemporary reportage.

Although De Rosa’s background includes photojournalism and documentary practice, her visual language gradually moves away from reportage and toward a more complex reflection on memory as a fragile, incomplete, constantly rewritten material. In this sense, the expression “a past time, a suspended time” — a phrase the artist herself uses to define her work — does not function merely as a poetic suggestion, but as a precise methodological statement. In her images, time never unfolds linearly: past and present coexist within an ambiguous and stratified space, where photography does not simply document what has been, but places tension upon what continues to re-emerge.

Crazy God and the Ethics of Subtraction

This dimension emerges with particular force in Crazy God, a project born out of the volunteer experience De Rosa undertook during the 1990s in a psychiatric hospital in Southern Italy. Returning to the site after its closure, the artist consciously avoids any aestheticisation of ruin or mental suffering. The asylum is never transformed into a spectacular device. Instead, the space appears suspended, rarefied, inhabited by a residual memory that continues to manifest itself through abandoned objects, writings on the walls, and personal belongings left behind as the final traces of erased lives.

What is most striking is the rejection of visual emphasis. The images never attempt to impose themselves as definitive symbols. The light is restrained, opaque, often dusty; interiors seem to emerge slowly from the very substance of time itself. Objects cease to function as scenographic elements and instead become clues, indices of absence. It is a photography that works through subtraction, and precisely through subtraction constructs its own ethical density.

The Archive as Critical Space

For this reason, the work of Yvonne De Rosa naturally enters into dialogue with some of the most significant reflections within contemporary image theory. It is difficult not to think of Georges Didi-Huberman when photography is treated as a form of “survival”, as the re-emergence of what history had expelled. Likewise, one can sense an affinity with Christian Boltanski, particularly in the use of the archive as an emotional and collective space rather than a purely documentary one.

Yet the true core of De Rosa’s research is probably the archive itself.

In recent years, contemporary photography has developed an almost obsessive relationship with archival material: anonymous photographs, rediscovered negatives, letters, family images, residual fragments of the past. Too often, this process has resulted in a merely nostalgic aestheticisation of memory. In De Rosa’s work, however, the archive is never a decoration of lost time. It becomes instead a critical space, a place where the past continues to interrogate the present.

In Corrispondenze, constructed through photographs and letters belonging to twentieth-century couples, the image completely loses its status as evidence. Photography ceases to guarantee authenticity and instead becomes distance, echo, fragment. The dialogue with Roland Barthes is particularly evident here. If in Camera Lucida every photograph implicitly contains the testimony of a future disappearance, in De Rosa’s work this awareness becomes even more radical: the images seem to reveal not so much what has been, but rather the impossibility of ever fully recovering it.

The Temporality of the Analogue

The use of analogue photography also acquires a precise meaning within this context. It is neither technical nostalgia nor fetishisation of the darkroom. The analogue process introduces a different experience of time and waiting. In a system dominated by the compulsive production of images, the slowness of chemical development becomes almost a form of cultural resistance. Photography regains weight, density, and physicality.

Naples, Memory, and Stratification

Even De Rosa’s relationship with Naples escapes the most predictable stereotypes. In her images, the city is never reduced to folklore or to a surface of identity-based narratives. Naples appears instead as a geography of stratification, a place constructed through continuous overlaps of memory and erasure, where the past repeatedly returns in unexpected forms.

It is significant, then, that an important part of her practice also materialised in the founding of Magazzini Fotografici. Not simply a gallery, but an independent space conceived to foster critical reflection around contemporary photography. In a city historically lacking institutions dedicated to the photographic medium, Magazzini Fotografici has represented something more than an exhibition venue: an attempt to construct cultural community, critical thought around images, and an education of the gaze.

Perhaps it is precisely here that the position of Yvonne De Rosa within contemporary Italian photography can be fully understood. Her work does not seek immediate consensus or rapid aesthetic recognition. Her images remain deliberately open, incomplete, permeated by doubt. In an era dominated by visual saturation and excess of presence, her research restores centrality to absence, emptiness, and trace.

More than producing images, Yvonne De Rosa seems to continually question what images are no longer capable of retaining.

Biographical Note

Yvonne De Rosa is a photographer, founder, and artistic director of the independent space Magazzini Fotografici in Naples. She teaches photography at ILAS Academy and at the Academy of Fine Arts of Naples, and collaborates with the University of Naples Federico II in the fields of visual sociology and contemporary photography. Her research investigates the photographic medium as a narrative device, constructing an ongoing dialogue between memory, time, and contemporaneity. She has published monographs including Crazy God, Hidden Identities, Sguardo Sensibile, A mia madre, and Corrispondenze, receiving international recognition such as the IPA Award, Kodak Young Award, the RPS – Royal Photographic Society, and the MILOTA Foundation Award at the Bratislava Photo Festival. Her work has been exhibited internationally at venues including ARCO Madrid, The Armory New York, the Victoria & Albert Museum in London, and the National Archaeological Museum of Naples.