The Sul campo exhibition, curated by Stefania Rössl and Antonello Frongia, was created in conjunction with the large anthology on the photographer from Cesena at the MAXXI - Museum of XXI Century Arts in Rome and is part of the inventory and digitization project, promoted by the Municipality of Cesena and the Emilia-Romagna Region, of a significant section of the Guidi Archive, started in 2022. The project, which allowed the completion of the The reorganization of approximately 3,500 small and medium format photographic specimens made by Guidi between the end of the 1960s and the beginning of the 1980s had a dual purpose. On the one hand, it aimed to create the basis for the systematic study of the work of an important contemporary Italian photographer, through the dating of the shots, the identification of the subjects and themes represented, the recognition of series and subseries of work that have marked the development of the photographer's visual language over several decades. On the other hand, the project focused on the identification of places, building typologies and the different physical elements that structure the "ordinary" landscape favored by Guidi's research, in view of a possible use of his photographs as visual documents for a history of the transformations of the city and the territory starting from the 1960s, in particular as regards Cesena and its territory. Limited edition of 500 copies, of which 25 copies accompanied by a print entitled 'Cesena, 1984', print size 14.7×17.7cm on 17x24cm sheet, Giclée fine art print on Hanhnemühle Photo GlossBaryta X gr 320, signed and numbered by hand. Booksellers' note: "Sul Campo" is the latest in a long series of Guidi titles and, at first glance, it almost seems like an exception, especially due to the choice of the publishing house, Danilo Montanari from Ravenna, and the limited edition of just 500 copies. The title, however, belongs to the same linguistic family:, with its seeming like the fragment of a sentence, a discussion already begun and left pending, as also happens in Tra tra l'altro, Col tempo, Di sguincio, Dietro casa, Veramente, Guarda a Est... (among others). Even in words, Guidi avoids emphasis and narration: his titles seem transitive, relational, just like the photographs.