incubi_et_succubi - Seems

Incubi et Succubi, Lele Saveri

88 pages
4 color offset printing
7.25” x 9.75”
Limited edition 500
Edited - Serena Pezzato
Cover - Alessandro Maida

Seems also would like to express thanks to Studio Editoriale for the gracious
support that helped make this book possible.


Book Launch & Signings

Sunday 12-18-11, 7:00 - 9:00
436 N. Fairfax Ave.
Los Angele, Ca

Thusday 11-17-11, 19:00 - 12:00
Donlon Books
77 Broadway Market
London E8 4PH - UK

Friday 11-11-11, 19:00 - 22:00
le Dictateur
Via Nino Bixio 47
Milano, It

Friday October 21st 7:00 - 9:00
Karma Bookstore
21Downing Street, Ground Floor
New York, NY

Friday Sept 16th, 19:00 - 21:00
Museum shop “Onsundas”, Watarium
3-7-6 Jingumae, Shibuya-ku
Tokyo 150-0001
tel: +81.3.3470.1424

Wednesday Sept 21th, 19:00 - 21:00
s.t. foto libreria galleria
via degli ombrellari, 25
Roma 00193
tel/fax +39 06 64760105

More launch info to come...


To Lie Under

A film by - Lele Saveri & Giulia Maria Venturini
Original soundtrack - No Age
Produced - Serena Pezzato
Starring - Gerri Noack, Giulia Maria Venturini
Costumes - Camilla Candida Donzella
Make up - Susie Sobol
Lettering and credits - Giuseppe Furcolo & Alessandro Maida

About Lele Saveri

Lele Saveri was born in Rome. He studied photography at the University of Greenwich, in London. His photos combining dreams and reality, blending staged images with snapshots, but somehow always timeless. In the photographs, as in the dreams, there’s a incoherence, a free association of turmoils, surprises, sex, laughter, danger, fear, enigmas, exorcisms.

Lele is currently based in New York, where he collaborates with various publications, including Apartamento, D della Repubblica, Rivista Studio, Rolling Stone, Sang Bleu, L’Uomo Vogue, Vice. In addition to working as photographer, he curates the online gallery together with Serena Pezzato. They have had curated shows in London, Venice, Milan, and Bilbao.

Book Intro

...The book—a psychodrama—instead finds coherence in themes and in emotions, in the surprising archaism of the figures that appear to him in dreams. The books is a repertory of archetypes, ancient ghosts with flowing gowns, atmospheres that, at times, reminds me of The Somnambulist by Ralph Gibson and, at times—the images of the infested houses of Staten Island—reminds me of Ted Serios’s “thoughtographs” in which he exposed the film with an obstructed lens, directly with his mind. It is often like that here: Incubi et Succubi “like the Veronica Veil and the Turin Shroud, were images made not by human hands, but by mysterious external forces” (Harvey again). And if it is true that the invisible becomes visible with the intent of changing our point of view, then it is also true that openly confronting our demons has the thaumaturgical power of making them vanish—at least until the following night.

Selva Barni, editor, Fantom - Photographic Quarterly