Tokyo (1), 1999

Looking at certain works by Francesco Jodice, one would be tempted to see a continuation of that long tradition of Italian photography of architecture and landscape, expressed through the use of color that younger generations have sometimes staked out as their own territory.

But a closer observation reveals that even in photographs where the framing is fully frontal and direct, coming up against the impenetrable screen of buildings connoted by an essential and peripheral modernism, there is only a superficial resemblance to views by Gabriele Basilico, for example. What strikes the viewer, behind the regular series of windows, is the chaos of life, of a human presence that breaks the consistency of the lines, that shatters the rigor of the architectural design with the addition of curtains, air conditioners, or satellite dishes. [...]