Bettina Musatti


Bettina Musatti born in Sao Paulo - (Brazil 1968) but in Italy for years. Has started her route as photographer in 1985 at the Imagem and Acao School of Claudio Feijo in Sao Paulo, Brazil. In 19987 faced part of the staff as reporter photographic for one of the biggest brazilian daily numbers, “Folha de Sao Paulo”; has broken brazil in 1989, working as a free lancer for different brazilians tests on the road for europe. She has documenated the fall of the Berlin Wall where there was an integrate... [Continue reading]

Atelier of Bettina Musatti

Information about Bettina Musatti

Bettina Musatti born in Sao Paulo - (Brazil 1968) but in Italy for years. Has started her route as photographer in 1985 at the Imagem and Acao School of Claudio Feijo in Sao Paulo, Brazil. In 19987 faced part of the staff as reporter photographic for one of the biggest brazilian daily numbers, “Folha de Sao Paulo”; has broken brazil in 1989, working as a free lancer for different brazilians tests on the road for europe. She has documenated the fall of the Berlin Wall where there was an integrated exhibition the Berlin of today has been made together with Eric Salomon.

Student of Arnold Newman, Duane Michals, Ralph Gibson and Eikoh Hosoe has lived and worked in New York as an assistants for some of them in 1991.

Returned in italy since 1992 she worked as a camerawomen in Como for a local televisions (E TV) passing through the rooms as a journalist for a culture and atuality planning.

Despite the different works she always cultivated her personal passions for photography creating.



- Galeria Fotoptica- Sao Paulo- Brasile


- Galeria Fotoptica Sao Paulo “fotos Bettina Musatti e Rubens Mano”


- Fundacion Caixa Barcelona -Manresa-Spagna “Entorns Imaginars”


- Galleria Diaframma-Milano-Italia “The body Negative”


- Chiostro St. Eufemia-Como-Italia “ The body Negative”


- Palazzo Natta-Assessorato alla Cultura-Como-Italia “Smile Metal”

-  Spazio Manara 15 -Milano-Italia “Smile Metal”

-  Varesevivi-Varese-Italia -”Smile Metal”



- Galeria Fotoptica- Sao Paulo-Brasile “ Animals”

- Infoto Funarte-Rio de Janeiro-Brasile “ 10 jovens fotografos”


- VI Salao Paulista de Arte Contemporanea-Sao Paulo-Brasile
-  Cine Art Taller Unaula-Colombia- “South American Photography”


- P.S.1 Museum -Istitute of Contemporary Art-Long Island- USA
-  Alphaville Cultural Center-Sao Paulo-Brasile “ Photoreportage Mayor of Sao Paulo election”


- Infoto-Funarte-Rio de Janeiro-Brasile “Donne Fotografe”
-  Museum of Image and Sound- Sao Paulo-Brasile “See the Invisible”


- Primavera Fotografica-Barcelona -Spagna “Entorns Imaginars”

-  Galleria Diaframma.Milano-Italia “ La Berlino di Oggi”

-  Centro Culturale-Bolzano-Italia “Immagini di Libertà”

-  Duomo Metropolitana-Milano-Italia “ Metropolitana Europea”

-  Galleria Il Filo di Ariana-Bergamo-Italia “ Berlino”


- SESC-Centro Cultural-Sao Paulo-Brasile “estudo internacional da Imagem e Tecnologia” (Luiz Monforte)
- Cultural Center -Amsterdan-Holand


- Musee D'Elysee-Losanna-Svizzera “Fotografia Italiana”
- Galleria Diaframma- “Fotografia Italiana”


- Casa Fuji- Sao Paulo-Brasile “ Collection of Jaoquim Paiva”


- SESC-Centro Cultural-Sao Paulo-Brasile “Imagem Brasileira”


- SESC Senai-Sao Paulo-Brasile “ 4° studio della Tecnologia e Imagem”

-  Spas Gallery,Switzer - gallery-Pyramid Art Center- “Brazil the Thinkin Photography


- Galeria do Centro de Comunicaçoes e Arte SENAC-Sao Paulo- Brasile “ Brasil”
-  MASP-Museo de Arte de Sao Paulo-Sao Paulo-Brasile “Pirelli Collection”


- Oca- sao Paulo-Brasile “Alumbramentos Fotografie Contempranea Joaquim Paiva Collection.


OlhaveOlhave di Isabel Amado-Sao Paulo-Brasile


- GirafaMania-Sao Paulo-Brasile “ 6° Coleçao fotografia no Brasil”


- Fotofestival Milano Arte-Milano-Italia


- Open Atelier- Borgo 35- Como-Italia


- Centro Como corsi- Como Italia sgurdi dal Grumello
-  Glasgow Gallery of Photoghy -Irlanda “Monochrome”
-  Glasgow Gallery of Photoghy -Irlanda “Cityscape”



- Imagem e Açao-Sao Paulo-Brasile – Claudio Feijò


- Semana Nacional da Fotografia-Curitiba-Brasile -Carlos Moreira


- Art Kane Photoworkshop-Cape May-USA-Ralph Gibson
- Art Kane Photoworkshop- Cape May-USA-Duane Michaels
- Art Kane Photoworkshop- Cape May- USA-Arnould Newman


- International Photomeeting-Republica di San marino-Italia Eikoh Hosoè


- MASP-Museo di Arte de Sao Paulo-Brasile

- ITAU-Cultural Center -Sao Paulo-Brasile “Brazilian Photography”

- Joaquim Miguel Paiva-Sao Paulo-Brasile

- Luiz Monforte-Sao Paulo-Brasile

- Pirelli/MASP- Sao Paulo-Brasile


- Visoes e Alumbramentos- Fotografia Contemporanea Brasileira na Coleçao de

- Joaquim Paiva

- Fotografia Brasileira Contemporanea na Coleçao de Carlos Leal

- Fotografia Pensante di Luiz Guimaraes Monforte

Bettina Musatti  

SO FAR SO CLOSE by Luigi Cavadini

The series of pictures taken by Bettina Musatti and presented in pairs in this project, which she has  been working on for some years now, stems from the artist’s personal story. 

Musatti, who was born in Brazil and has been living in Italy for a long time, deals with physical distance  from the places of her childhood and family with great simplicity: “Near and far can trade places,” says  she, “and this is particularly true for personal relationships. We often feel so close to people who are physically distant, and so far away from other people that we see all the time or who live with us.” What’s more, our time is characterised by the fact that “everything is far, everything is close”:  technology has made the world a smaller place and has reduced distances; we can be here and in São  Paulo, New York, Beijing, Moscow, and everywhere else, at the same time. 

This way of being and of staying at once here and elsewhere influences our behaviours and our  actions. Artists, too, have to face this reality and are influenced by it. 

After taking a close look at the historical places and events of her time while travelling the world for  photo shoots for Brazilian and Italian newspapers and magazines, and after focusing – in previous  series – on everyday “things” and on the depths of the human body, Bettina Musatti decided to “play”  with the concept of far-close through a systematic search for pictures that best describe this relation  and that, in this very relation, find their essence. 

Each pair of photographs tells a story. The artist seems to be suggesting and urging a new way of  looking. Seeing (from a distance) is not enough; each of us should make an effort to focus on (i.e. bring  closer) what in a broad view, however fascinating, is indistinct and invisible. Here is the difference  between seeing and looking. 

And this is evident in the pairs of pictures. In pursuing this purpose, Musatti, to better illustrate this  need of hers – which is an increasingly pressing need for each of us – to learn how to look, often  resorts to her relationship with earth and nature through bird's eye view photography. From this  perspective, she is able to capture sweeping vistas while also dropping hints that only a close-up shot  allows to take and appreciate for both their beauty and – often – their dramatic power to denounce. 

And that’s why we can see the camera turning its attention to the lands – for her equally close, however distant – of Brazil and Italy, as well as of other countries, to extrapolate from them, in their  elementary presence, water, ice, fire and air (at the origin of life), as well as insubstantial and  inexpressive details such as tiles, a boat, a car, an animal, a bush, a house. 

Things that from a distance seem not to be, and yet are. They exist: we must learn to see to the core in  order to fully experience what is around us and we, unconsciously, have always overlooked. 

SMILE METAL by Bruno Rogogna

Bettina Musatti, a brazilian photographer active in Italy for a long time. She offers us with this work, a series of incredible pictures. Pictures with a big visual impact that send your mind to a world where “inside and exterior” became the same, using photografic instruments in a surprising way! Inside and outside: show what we use inside but not exhibited with lightness , see instruments of intimacy violated body that with tecnological instrument became a corection.
Obsarving those pictures our eye becames an execirsize of emotional scans, in some way almost ferocious The real witnesses of existential paths that throug out the mouth, open to life and growth: the breath,the food, words....


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