GBP 40.00
In Umarèl, Berlin-based photographer Maximilian Virgili turns his lens toward the city he calls home, tracing its quiet choreography of construction, observation, and time. The book takes inspiration from the Italian archetype of the Umarèl, the elderly man who stands at the edge of a building site, hands clasped behind his back, watching, and reimagines it within the perpetual reconstruction of Berlin.
Known for his work across travel, still life, and fashion, Virgili departs from his usual subjects to document the everyday poetics of a city in flux. His images linger on scaffolding, concrete shells, and fleeting afternoon light, finding presence in what is often overlooked. Each photograph embodies a patient attentiveness, a sense of quiet inquiry that recalls the approaches of Guido Guidi, Luigi Ghirri, and Raimond Wouda.
The Umarèl, a term popularised by Bolognese writer Danilo Masotti, becomes for Virgili both a metaphor and a method: to watch, to return, to notice. Half-Italian and long based in Berlin, the photographer sees in this figure a mirror of his own process. Through repetition and restraint, he uncovers stillness within the restless pulse of urban change.
In his accompanying essay, Ben Goulder writes, “It’s a funny comparison. Retired men in Italy and a young photographer in Berlin. But both of them pay attention. They don’t look away. They’re in it for the long game. Watching the city shift in slow motion.”
Printed in Germany by Gutenberg Beuys Feindruckerei and designed by Katharina Noemi Metschl, Umarèl spans over 60 photographs across 72 pages. The result is a body of work that feels understated yet enduring.
Maximilian Virgili is a photographer based in Berlin whose work spans travel, still life, and fashion. His practice balances formal precision with emotional tone, often uncovering subtle humour and beauty in the everyday. He has worked as a photographic director for several international print titles and has collaborated with a range of cultural and commercial clients.