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The International Meeting Place


Mauro Bedoni

Program Manager/Freelance Photo Editor and Curator
QUAD/FORMAT International Photography Festival, Derby, United Kingdom

Mauro Bedoni was born in Italy in 1979 and graduated from the University of Padua with a degree thesis on Photojournalism. In 2007 he started working as the photo editor of COLORS Magazine and assigned more than 150 photographers in 60+ countries. In the same period, for Fabrica, the Benetton’s communication research center, he worked as a talent scout and producer for the editorial and photography department. In 2015, he moved to New York and worked as a freelance photo editor on the 2016 TIME 100 issue and then as a creative consultant and production editor for Shinola on the first issue of a new magazine, part of the content marketing strategy of the company. Back to Europe, in 2017 he served as programme manager at QUAD Derby (UK), a centre for contemporary art, film and new technologies and the organiser of FORMAT international photography festival.

From 2018 he started working as a freelance photo editor for a new weekly supplement to the Italian biggest newspaper, Corriere della Sera, on a project directed by Oliviero Toscani. He has served as a portfolio reviewer and juror in several international photo festivals and photography awards and grants and he's been nominated for picture editor of the year at the Lucie Awards 2011. As a curator, in 2015 he pulled together two group shows: the Fabrica exhibition at the Łódź Fotofestiwal and the Afterlife exhibition at the Athens Photo Festival. In 2018, for QUAD, has curated the Middle Bound project, a workshop and exhibition directed by award-winning artist Patrick Waterhouse and Tim Wan.

Mauro Bedoni is keen to see all photographers who are interested in discussing their ideas, and he is open to seeing work at any stage of project development. Most types of work are welcome for review, including documentary, photojournalism, archival, photo/cross artform installation, contemporary, and narrative photography, as well as film and performance. He is less interested in seeing commercial, advertising, nude, or stock photography, unless they fit into the above categories. 

During the review, he can offer critique on creative practices, advice on strategies for the promotion of work, and ideas for conceptual project development for off and online publication, exhibition in a gallery or a public space. Photographers can expect supportive discussion on their projects, ideas, and if relevant, referrals and suggestions for venues or avenues for progression. In exceptional cases, he can offer opportunities for exhibition or participation in QUAD/FORMAT programmes, including residencies. However, offers will not be made during the reviews, but will be followed up on afterward if appropriate.

Session Two

The International Meeting Place

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