{"id":5647,"date":"2023-11-06T16:08:03","date_gmt":"2023-11-06T15:08:03","guid":{"rendered":"https:\/\/iicstoccolma.esteri.it\/news\/dall_istituto\/2023\/11\/mostra-fotografica-war-anatomy-di-alex-majoli\/"},"modified":"2023-11-06T17:02:01","modified_gmt":"2023-11-06T16:02:01","slug":"mostra-fotografica-war-anatomy-di-alex-majoli","status":"publish","type":"post","link":"https:\/\/iicstoccolma.esteri.it\/sv\/news\/dall_istituto\/2023\/11\/mostra-fotografica-war-anatomy-di-alex-majoli\/","title":{"rendered":"Fotoutst\u00e4llningen \u201dWar anatomy\u201d av Alex Majoli"},"content":{"rendered":"
Italienska Kulturinstitutet i Stockholm visar,\u00a0mellan 8 maj och 30 november<\/strong>, fotoutst\u00e4llningen\u00a0War anatomy<\/strong>\u00a0<\/em>av\u00a0Alex Majoli<\/strong>.<\/h5>\n

 <\/p>\n

Utst\u00e4llningen \u00e4r specifikt skapad f\u00f6r Institutets utst\u00e4llningssal och det \u00e4r f\u00f6rsta g\u00e5ngen Majolis fotoreportage om den ryska invasionen, skapat under v\u00e5ren 2022 f\u00f6r\u00a0Vanity Fair<\/a><\/em>, presenteras i utst\u00e4llningsform.<\/p>\n

Utst\u00e4llningen \u00e4r i tv\u00e5 delar. P\u00e5 sidov\u00e4ggarna visas en sekvens av foton i sm\u00e5 format som f\u00f6rest\u00e4ller avsked p\u00e5 Odessa centralstation mellan pappor och barn och fruar och m\u00e4n som tvingas l\u00e4mna varandra. Sekvensen bryts av f\u00f6rstoringar av utvalda detaljer som l\u00e4mnar ett starkt emotionellt avtryck.<\/p>\n

P\u00e5 de tv\u00e5 centrala v\u00e4ggarna finns tolv fotografier i stort format som visar olika tillf\u00e4llen fr\u00e5n kriget.<\/p>\n

Utst\u00e4llningen \u00e4r \u00f6ppen under Institutets \u00f6ppettider: m\u00e5ndag-torsdag 9.30-13 och 14-16.30 och fredag 9.30-13.<\/p>\n

S\u00e5 h\u00e4r beskriver Alex Majoli det som ledde honom under skapandet av projektet:<\/p>\n

\n
At 6 PM in Odessa, all the trains leave the city. The docks fill with tears as families have to part ways, with men on one side of the platform behind the barrier, and women and children on the other side leaving. A father rests his hand on the window, while on the other side is his 13-year-old son who can\u2019t stop crying. The father holds back his tears, unable to show any relentlessness in his decision to let his only son go into the hands of two strangers, two women who are taking the same train. I cry, and my translator Maxim cries.<\/h6>\n
It\u2019s a scene that transcends the confines of theater; it\u2019s the stark reality of war. We, photographers and subjects, find ourselves on the same stage, each with our families to follow, bearing witness to their pain. The agony of separation, the heart-rending farewell, the raw emotions of grief, fear, and uncertainty \u2013 these moments leave an indelible mark on our souls and shape our perception of war.<\/h6>\n
As a photographer, I am compelled to capture these moments, to document the human experience amidst the chaos and devastation of war. It raises profound questions within me \u2013 why do I choose to photograph one subject over another? Why do I see my own reflection in the life of another person? Is it a quest for understanding, an attempt to make sense of the senseless?<\/h6>\n
The anatomy of war goes beyond the physical wounds and casualties. It requires careful deconstruction, an analysis of the disease that afflicts humanity and the search for healing. It demands unraveling the complexities of pain, the raw and unfiltered emotions that surface in times of war, including fear in all its forms. It\u2019s about the masks of weeping, of farewell, of a loud silence \u2013 the expressions of human suffering that reveal the true nature of war.<\/h6>\n
This exhibition is a testament to the ongoing dialogue I have with reality and its portrayal. It\u2019s an extract of a long-term conversation with reality, where all that we see really happens, a fragment of reality. But what excess do we need in order to understand ourselves?<\/h6>\n<\/blockquote>\n

Alex Majoli<\/strong>\u00a0(Ravenna, Italien, 1971) har studierat fotografi p\u00e5 Art Institute i Ravenna och b\u00f6rjade jobba som fotoreporter med att fotografera st\u00e4ngningen av det psykiatriska sjukhuset p\u00e5 \u00f6n Leros i Grekland. Majolis arbete som fotojournalist har lett honom att utveckla det p\u00e5g\u00e5ende projektet \u2018Scene\u2019 som unders\u00f6ker id\u00e9n om att vi \u00e4r sk\u00e5despelare i v\u00e5ra egna liv. Hans foton visas p\u00e5 flertalet publika utst\u00e4llningar, han har tagit emot flertalet utm\u00e4rkelser och stipendier som Guggenheim fellowship, Infinity Award, Getty, Photographer of the year NPPA, Feature Photography Award OPC och har publicerat ett antal b\u00f6cker. Han \u00e4r en Magnum Photo-fotograf sedan 1996.<\/p>\n

\n

Fotona fr\u00e5n utst\u00e4llningssalen \u00e4r tagna av Federico Tabanelli.<\/p>\n","protected":false},"excerpt":{"rendered":"Italienska Kulturinstitutet i Stockholm visar,\u00a0mellan 8 maj och 30 november, fotoutst\u00e4llningen\u00a0War anatomy\u00a0av\u00a0Alex Majoli.   Utst\u00e4llningen \u00e4r specifikt skapad f\u00f6r Institutets utst\u00e4llningssal och det \u00e4r f\u00f6rsta g\u00e5ngen Majolis fotoreportage om den ryska invasionen, skapat under v\u00e5ren 2022 f\u00f6r\u00a0Vanity Fair, presenteras i utst\u00e4llningsform. Utst\u00e4llningen \u00e4r i tv\u00e5 delar. P\u00e5 sidov\u00e4ggarna visas en sekvens av foton i sm\u00e5 […]","protected":false},"author":5,"featured_media":5643,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"tags":[],"class_list":["post-5647","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/iicstoccolma.esteri.it\/sv\/wp-json\/wp\/v2\/posts\/5647","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/iicstoccolma.esteri.it\/sv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/iicstoccolma.esteri.it\/sv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/iicstoccolma.esteri.it\/sv\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/iicstoccolma.esteri.it\/sv\/wp-json\/wp\/v2\/comments?post=5647"}],"version-history":[{"count":4,"href":"https:\/\/iicstoccolma.esteri.it\/sv\/wp-json\/wp\/v2\/posts\/5647\/revisions"}],"predecessor-version":[{"id":5698,"href":"https:\/\/iicstoccolma.esteri.it\/sv\/wp-json\/wp\/v2\/posts\/5647\/revisions\/5698"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/iicstoccolma.esteri.it\/sv\/wp-json\/wp\/v2\/media\/5643"}],"wp:attachment":[{"href":"https:\/\/iicstoccolma.esteri.it\/sv\/wp-json\/wp\/v2\/media?parent=5647"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/iicstoccolma.esteri.it\/sv\/wp-json\/wp\/v2\/tags?post=5647"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}