For Overshoot, Tobias Zielony returns to Naples after his 2010 work on the Vele housing complex in Scampia. This time, his focus shifts to the most emblematic spaces conceived by Aldo Loris Rossi (1933–2018) and his bold urban visions—works that continue to provoke with their futuristic language and symbolic complexity.

Zielony brings the viewer face to face with some of Rossi’s most utopian architectural creations: the Piazza Grande housing complex at Ponti Rossi, the Casa del Portuale near Via Marina, and the church of Santa Maria della Libera e del Santissimo Redentore in Portici. Zielony’s work revisits these structures in their contemporary urban and social context, revealing how they have evolved and been reinhabited over time.

His lens follows not only the lines and forms of the architecture but also the lives and movements of the people who inhabit these spaces. The result is a dynamic, open-ended visual narrative—an endless sequence of perspectives that reflects the ever-changing nature of urban and social realities. There is no single, definitive way to view these environments; they constantly remake themselves.

Zielony’s photographic practice often begins in the city’s peripheries, combining architectural exploration with intimate portraiture. The spaces he documents no longer pulse with the ideals of urban utopia; instead, they exist as autonomous zones within the city—detached yet deeply alive.

Within the social hardship he captures, there’s always a quiet, ambiguous beauty—disarming in its honesty. Zielony’s subjective perspective avoids sentimentality, challenging us to see the world without illusion.