In Alicante this week, a new chapter in contemporary documentary photography is being presented. The event centers on a visually powerful book project by Carlos Spottorno, a photographer known for his stark, memory-driven images and his two World Press Photo prizes from 2003 and 2015. The book, titled Dont go back to Rome, is published by Astiberri and features a curated sequence of photographs that explore themes of memory, place, and perception. The launch includes an opening ceremony at the Pynchon&Co bookstore, scheduled for seven in the evening, and offers a chance to engage with the project through conversations about its making, provenance, and impact. The event gives visitors an opportunity to explore the work in depth and to hear a cultural manager discuss its significance within the broader landscape of contemporary photography in Spain and beyond.
Spottorno’s work sits at the intersection of documentary truth and interpretive storytelling. The images function as a folded memory of Rome, not as a simple record of what exists but as a reflection on what the city has meant to those who have observed it across different eras. This approach invites viewers to consider how the city’s identity has shifted over time, and how the present moment can illuminate the past. The project underscores the photographer’s ability to frame a city through a lens that reveals both its enduring icons and its emergent, everyday realities. The discussion at the event will touch on the photographer’s technique, his choice of subjects, and the way the book’s design contributes to the reader’s experience of Rome as a stage where history, myth, and modern life collide.
In this latest release, the narrative voice centers on the act of seeing itself. The photographs are presented with minimal accompanying text, allowing the images to dominate while brief reflections from the author provide a thread that audiences can follow. The pairing creates a contemplative experience, one that encourages viewers to form personal interpretations rather than rely on a single, authoritative reading. The visual strategy challenges conventional documentary modes by balancing austere architectural scenes, public spaces, and intimate glimpses of daily life.
The project juxtaposes Rome’s grandeur with its current dynamics, contrasting the city’s classical splendor and its ruins with the realities of today. The images capture the ordinary alongside the spectacular, including graffiti, litter, and the ubiquitous presence of visitors who document themselves with countless selfies. Through this juxtaposition, the book prompts reflection on how cities evolve and how memory is preserved in the form of photographs. The publication is positioned as a thoughtful meditation on place, time, and the ways in which photography can interpret a living city rather than merely catalog its sites.