Rome, Bus Stop with Woman Tempted by Apple Ad, 2009
Archival Giclée Pigment Print on Archival Paper
Limited Edition of 5
40 x 60 in
102 x 152 cm
US $ 4,600
Set against a backdrop of overlapping posters and graffiti, this photograph captures a moment of conspicuous disconnection at a Roman bus stop. The line of individuals, standing, sitting, walking, appears stitched together by proximity but divided by posture, gaze, and intention. Each person occupies their own frame of mind, their separation emphasized by the rhythmic repetition of a theater poster behind them. What might be a communal setting instead becomes a stage of solitude, where interaction is absent and the social fabric feels threadbare.
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Set against a backdrop of overlapping posters and graffiti, this photograph captures a moment of conspicuous disconnection at a Roman bus stop. The line of individuals, standing, sitting, walking, appears stitched together by proximity but divided by posture, gaze, and intention. Each person occupies their own frame of mind, their separation emphasized by the rhythmic repetition of a theater poster behind them. What might be a communal setting instead becomes a stage of solitude, where interaction is absent and the social fabric feels threadbare.
Ragazzini isolates a core contradiction of urban life: physical closeness coupled with emotional distance. His digital reworking sharpens outlines and flattens perspective, evoking the visual clarity and deadpan detachment of German New Objectivity artists. The figures are arranged like cutouts, as if collaged into place, yet none engage with one another. The poster behind them, with its stylized face turned toward an apple, mimics classical representations of temptation or knowledge, adding a note of irony to the indifference below.
Here, Ragazzini transforms the real into a tableau vivant where every gesture feels suspended in time. The result is a study in fragmentation, one that speaks not only to public space but to the psychic landscape of contemporary urban life.
In Waiting for Godot, Enzo Ragazzini reveals the quiet dramas of urban life, where public spaces become stages of fatigue, isolation, and longing. Turning his lens on people waiting in Rome, he captures the collision between real bodies and glossy fantasies; moments where individuals remain disconnected beneath advertisements promising beauty, success, and a life just out of reach.