Ponti

La macchina da soldi

Secondo Daniel Garcia (precedentemente descritto qui e qui): “Quali sono le cose che ti infastidiscono di più del mondo di oggi?

Sono le guerre ei problemi economici fatti dai potenti che fanno soffrire così tanto gli altri? Sono i continui litigi e la mancanza di empatia sui social media? O solo le ingiustizie quotidiane di cui non si parla abbastanza?

Mi chiamo Daniel Garcia e sono un illustratore professionista che si pone sempre queste domande.

Negli ultimi 10 anni ho collaborato con molte pubblicazioni e aziende in tutto il mondo, concentrandomi principalmente su questioni politiche, sociali e umane”.

Di più: Daniele Garcia, Instagram h/t: noirpanda

America e armi

Giustizia Tributaria

Media antisociali

Povertà di carburante

Il mondo si sta sciogliendo

Inquinamento dell’aria

Russia, NATO e persone innocenti

I social media sono morti

Scacchi politici

Diabete nel mondo

Lavoro di squadra

Controllo delle armi

Putin “amante della pace”.

Mangiare sano

Combattimenti con gli smartphone

Il blocco dello scrittore

Covid e asma

Genetica

Carta

Corsa agli armamenti

Crimini di guerra

Disuguaglianza del vaccino

Lungo Covid

Come dormiamo

Covid e tubercolosi

Ipertensione

Senza nome

Putin “amante della pace”.

Psicologia nello sport

Cannabis E Bitcoin

Transgender e Covid

Turin – There is Sicily in the seventies and the entrance of a glittering Metropolitan. And again the Calangianus cork factory, the port of his Genoa, the Italsider, the meeting with the poet Ezra Pound.
Lisetta Carmi, the student expelled from school because she was Jewish, the photographer born a pianist finding in the instrument “her only companion”, tells about herself in a scheduled exhibition from 22 September to 22 January at the Gallerie d’Italia in Turin.
The Intesa Sanpaolo museum will host the large monographic exhibition dedicated to one of the most interesting personalities on the Italian photographic scene who recently passed away at the age of 98.

Calangianus – cork factory, 1964 | Courtesy @ Lisetta Carmi-Martini & Ronchetti

Curated by Giovanni Battista Martini, with a precious video contribution made for the occasion by Alice Rohrwacher, the path Lisetta Carmi. Play Loud it evokes the formation of Carmi as a pianist, underlining the courage to change direction, to undertake different paths to follow his stubborn desire to give voice to the least. On the other hand Lisetta Carmi approaches photography in 1960 thanks to her musicologist friend Leo Levi, who invites her to follow him in Puglia, where the scholar would have recorded the songs of the Jewish community of San Nicandro Garganico. For the occasion, Carmi buys her first camera, Agfa Silette with nine rolls of film, to capture the experiences of that journey in photos, attracted by the light of Salento.
Back in Genoa, she developed her photographs, receiving many appreciations and therefore deciding to pursue a career as a photographer, soon establishing herself as one of the leading interpreters of social photography in the second half of the twentieth century.
“As in music, in my photos there is rhythm, the rhythm of the music that I have studied for 35 years” he wrote. And again “I have never looked for subjects (…) they came to meet me, because when my soul vibrates together with the subject, with the person I see, then I shoot”.

Lisetta Carmi, Ezra Pound, 1966 © Lisetta Carmi – Martini & Ronchetti

In Turin the eight sections of the exhibition itinerary they will restore this rhythm, both of music and of life, welcoming beyond 150 shots taken between the sixties and seventies. The extraordinary reportage on the world of transvestites published in the seventies in a book that has now become a cult, with black and white and color images, gives way to the series of childbirth, to photographs dedicated to the world of work in Italy, to the sequence of the meeting with Ezra Pound. Playing a fundamental role in the exhibition is the music that peeps through the modern technologies of directional sound diffusion that allow you to listen to songs by Luigi Nono and Luigi Dallapiccola.
Lisetta Carmi herself, who has dedicated twenty years of her life to photography, putting human beings at the center of her research, moved by a deep empathy and the desire to understand, will tell some of her works through short videos.

Lisetta Carmi, Sicily, 1977 © Lisetta Carmi – Martini & Ronchetti

A public program will deepen and develop the themes of the exhibition, while a program of meetings entitled #INSIDEwith free access, (scheduled for Wednesday at 18.30) will see the participation of experts and professionals who will share ideas and reflections with the public during the evening opening days of the museum.
The exhibition can be visited on Tuesday, Thursday, Friday, Saturday and Sunday from 9.30 to 19.30; Wednesday from 9.30 to 22.30. Last admission one and a half hours before closing.

Read also:
• The new Gallerie d’Italia museum opens in Turin, a cultural hub dedicated to photography and Piedmontese Baroque

Rome – There is the war garden, in front of the Florence Santa Maria Novella station, the first to host a digital clock in Italy. And there is the excitement of travelers leaving for the Christmas holidays, immortalized at the Milan station, and then the arrival of the Alpini in Teramo, the 400 black shirts of the Marseille beam parade in front of the Termini station, the director Alfred Hitchcock by carriage, right at the entrance to the Roman station.
Fragments of the history of Italy run along the tracks of a time that memory has sealed, from north to south, to return them to us through crystallized shots rich in suggestion. Similar to railway exchanges that divert lives and stories, the eight sections of the photographic exhibition The station memory, in progress until November 1st at the Auditorium Parco della Musica in Rome, return the portrait of the country by accompanying us through eight stations in large Italian cities, on a 90-year journey. The protagonists of these stations – Trieste, Milan, Venice, Bologna, Florence, Rome, Naples, Messina – similar to the “most phantasmagoric concentration of human beings imaginable”, the faces. From those known by Marcello Mastroianni, combed by a hairdresser of the troupe during the filming of The engaged coupleOrson Welles and Sean Connery, to the anonymous ones of a traveler sitting on the platform of the station with her children or of a little traveler in the atrium of the Venice Santa Lucia ticket office.

Vincenzo Di Cara, Messina Station, Train departing with travelers saying goodbye, 1968, FS Italiane Foundation

The meal of two passengers, consumed on a bench in Termini station gives way to trains, like the new electric train stopped on a track on the occasion of its inauguration, in the private room of the Royal Pavilion, in Florence, in the long and high gallery of head of the tracks of Milan Central Station, and again at the mobile railway bridge with the ferry Cariddi docked, at Messina Centrale station.

These faces, gestures, images that animate the exhibition – the first curated entirely by the new president of Cinecittà, Chiara Sbarigia – intertwining in multiple points of view, come from the immense wealth of documents and images of the Luce Archive – one of the richest and most in continuous expansion, audiovisual memory of the 20th century in Italy and the Mediterranean – enhanced by the shots from the FS Foundation – part of the Ferrovie dello Stato group – which offer, according to original selection paths, new visions of that privileged point of view that are the its railway stations.

FS Cariddi ferryboat at Messina station. New dock with mobile railway bridge and docked ferry ship, 1937, FS Italiane Foundation

To compare private memory with public memory, reviving the memory of “one’s” station, are the stories of some of the greatest writers of our time. If Mauro Covacich links the Trieste station to an anecdote, Gaia Manzini retraces a day at Milan’s central station. Enrico Brizzi scrutinizes Bologna with his tragically stopped watch, Sandro Veronesi Santa Maria Novella.
“I have never seen Termini Station during the day, so I am amazed by the vastness – writes Melania Mazzucco about the Roman station -. Those iron lines – parallel, but sometimes capable of crossing each other, drawing enigmatic patterns, communicate the same message. Space, distance, freedom “.
If Valeria Parrella describes central Naples as a place of impermanence, Tiziano Scarpa looks to Venice, while the Messina station, with its rationalist lines, presents itself to us through the voice of Nadia Terranova, who weaves an episode that sees a Savior as the protagonist Quasimodo child.

Presented by Archivio Luce in collaboration with the FS Italiane Foundation, The Memory of the Stations it is an intense and fascinating story, through 92 archive images, historical documents and a film.

Anna Di Prospero, Bologna Central Station, 2022

“The choice of stations – explains Chiara Sbarigia – was completely arbitrary. In part it was tied to the writers I had in mind to involve. It is an extremely current story. People from all geographic backgrounds and from all cultural and social backgrounds pass through the stations: the wealthy manager, the foreign tourist, the off-site student, the commuter, the homeless people who beg and take shelter from the weather under the shelters. Furthermore, this exhibition well summarizes the guidelines that have shaped my cultural project for Cinecittà, starting from the central role that the Archivio Luce plays, an inestimable heritage of images and films that must be disseminated, enhanced, enriched and above all put into dialogue. with other Archives and other artistic expressions, faithful to the principle according to which an inactive wealth is an inert truth ”.

The twenty unpublished images created by Anna Di Prospero are precious, to return a necessary female point of view of the world explored by the exhibition, in a continuous dialogue between ancient and modern. The figure of the same photographer from behind, in a red dress, seems to interact with the buildings like a dreamlike and disturbing presence.

Sophia Loren and Carlo Ponti leaving for Lugo di Romagna from the Termini station in Rome, 22/09/1961, Archivio Luce Cinecittà

“Thanks to this project – explains Di Prospero, who will also be the first woman to be acquired by the Luce Archive – I realized how much more inclined she is to describe places with rationalist architecture. From this point of view I found the Messina station wonderful. Her plan has remained the same as it was 50 years ago. I have been waiting for the perfect light. From some unofficial photographs found online, I learned that, at sunset, a beam of light cut the porch perpendicularly ”.

After this first exhibition in Rome, The Memory of the Stations he will travel the world, with a first stop in Paris in mid-January at the “Paris Cinema Club” Gallery. The beautiful volume-catalog is published by Marsilio Arte / Archivio Luce Cinecittà.

New Milan Central Station, construction phases and railway reorganization of the city. View of the building towards the end of the works | Courtesy FS Italiane Foundation