Falsche Bewegung, the photographic project by Roberto Cavazzuti explores the Romagna Riviera beyond its familiar identity as a summer destination. During winter, the coastline becomes a liminal territory where time appears to slow down and the landscape shifts from a place of leisure into a space of contemplation. Here, photography does not simply describe the landscape, but evokes a suspended and unresolved state
The Winter Sea
Every year, the beaches of Ravenna welcome tourists and sports enthusiasts. Wide sandy shores, fishing huts and pine forests become stages for outdoor life. Toward the end of autumn, however, this system comes to a halt. Dunes, sea and paths lose their seasonal function and reveal a quieter, more rarefied dimension.
For Cavazzuti, the idea of the winter sea is closely connected to a visual memory that goes back to Wim Wenders’ The State of Things. The film depicts the interruption of a cinematic production and, more deeply, a condition of suspension. In one of its dialogues, the director and cinematographer face the ocean while cinema itself seems to become a form of thought: an unfinished process suspended between anticipation and possibility.
The Origins of Falsche Bewegung
This image remained in Cavazzuti’s memory for years before becoming the conceptual starting point for a photographic project. Falsche Bewegung is not intended as a direct homage to Wenders, but as an implicit dialogue with his visual universe and with the idea of movement as a journey without a clearly defined destination.
The project developed around a series of perceptual conditions: blurred, liminal, unresolved, subtle, cold, minimal and solitary. These are not descriptive categories, but states through which the landscape can be experienced differently.
False Movement
Cavazzuti works with long exposures and Intentional Camera Movement (ICM), introducing a controlled movement of the camera during the exposure. This “false movement” subtracts
definition from the scene and allows atmosphere, rather than detail, to become the primary subject.
Since autumn, the Ravenna coastline has become a field of investigation. Fishing huts around Marina di Ravenna emerge as isolated, almost archetypal presences. Sand, sea and sky form minimal fields of observation, while traces left by wind and waves create unstable textures. Seaside structures emptied of their summer function suggest waiting and abandonment, while the pine forests change from places of leisure into dense and almost archaic spaces.
Awaiting Winter
The first images form an essential atlas of huts, beaches and pine forests. Familiar elements are transformed by the winter sea into rarefied and silent images.
The project remains deliberately open, awaiting the next winter. This period of waiting is not inactivity, but part of the photographic process itself: a suspended condition that recalls, once again, the melancholic and unfinished journey of Wenders’ film crew along the Portuguese coast.
About the author
Roberto Cavazzuti, also known as RedRumStudio, was born in 1965. He lives and works in Ravenna, Italy. From an early age, his interests have been divided between art and science. He graduated in Computer Science (University of Milan) and worked for many years as a senior business executive. He now divides his time between teaching and fine art photography, with a particular interest in Intentional Camera Movement. His work has been published in several international photography magazines, including L’Oeil de la Photographie, Dodho, All About Photo.
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