Starting from the portrait Étienne Carjat made of Charles Baudelaire in Paris in 1862, Cresci enters the Baudelaire labyrinth, for which the mask revealed better than any nakedness the features of what it pretended to hide. With the series I Rivolti, Charles Baudelaire he opens the challenge: to identify those masks, to record them minutely and then to tear them; to face the tangle of ambiguities and contradictions that obscures, or illuminates, the face of the French poet. The work is built on modes of perception, where the single image is not complete in itself but finds its sense inside a serial structure, so that each sheet is the chapter of a wider and more complex narrative flow. Forty-six portraits, as many as the years of the poet's life, printed on cotton paper and folded by hand differently from copy to copy.