FOTOGRAFIA - FESTIVAL INTERNAZIONALE DI ROMA
april - september 2004
TEXT ONLY VERSION | ENHANCED VERSION | DEFAULT FONT |
| Exhibition | Dura Bellezza | Fotozine | Catalogue | Press | Credits | Partner | Contacts |
italiano | 2002 | 2003 |
LA DURA BELLEZZA
27 april – 6 july
“La dura bellezza” (Hard beauty) is an exhibition of photographs from private Roman collections and the first phase of a project which intends to link the annual theme of the FotoGrafia festival to images from private collections in Rome. The exhibition's design is intended to evoke an old picture gallery while the concept intends to make us reflect on photographic collecting at a time when increasing attention is being paid to relations between photography and contemporary art, or the strange difference between photographers and artist-photographers. The theme of beauty in the work of some of our greatest contemporary photographers.
Curator: Marco Delogu
Roberto Bossaglia, born in Cagliari in 1942, lives and works in Rome where he teaches photography at the Academy of Fine Arts. He began to work in the field of photography in 1975, exhibiting his works in art galleries and working with artists, architects and architecture magazines. Alongside his commissioned work he carries out a personal search into photography as a language. He has developed and participated in various projects concerning the interpretation of Italian urbanscapes. His photographs are in the collections of various museums, both Italian and foreign.
Cristina Garcia Rodero
Luis Gonzales Palma
Josef Koudelka was born in Boskovice, a tiny village in Moravia (ex Czechoslovakia) in 1938. His parents worked in a local tailoring factory, and the young Koudelka spent most of his childhood and adolescence herding the family goats to pasture. This is the period when he starts to relish freedom and experience the bittersweet sadness of loneliness. These elements will mark all his stills. Koudelka also showed a strong interest in music and aeronautics. He graduated in aeronautical engineering at the Technical University in Prague, and worked as an engineer, while playing the bagpipes in local folk bands during his free time. These two activities, however, did not distract him from his primary passion: photography. Koudelka first began taking stills of theatre productions: he was the official photographer of the Prague Theatre Za Branou and collaborator of the theatre review Divalo. Then, he shifted to other themes and was widely recognised as the photographer of the Eastern Europe landscapes, the farmers working the land, the gypsies playing their inseparable fiddle and carrying a coin in the eye once dead to buy their journey ticket in the afterlife. But Koudelka is also the photographer that, better than anybody else, has chronicled the Czech resistance during the invasion of Prague by the Warsaw Pact Armies in 1968. This enterprise earned him the Robert Capa Gold Medal in 1970. Following several international exhibitions, in 1971 he joined the Magnum Photos Agency and moved to England and then to France where he became a naturalized citizen. Koudelka's works are exhibited in the Victoria and Albert Museum in London, the Museum of Modern Art in New York, the Philadelphia Art Museum. Koudelka managed to stand out internationally thanks to his clear style and to his ability of portraying life superbly on the streets. The images showing Prague students fronting the Russian tanks invading the city with flowers, are world-famous.
Born in London in 1935. Before finding solace taking stills of the Somerset countryside he spent the first thirty years of his career as a war photographer in the world's most troubled areas, reporting the horrors of conflict and refusing all aestheticization. In 1959 he joined “The Observer” and was made responsible for all photo reportages. In 1961 he left for Berlin to document the building of the wall. In 1964 he was in Cyprus to document the civil war and then in Vietnam; for his Cypriot work he was awarded in 1965 the first prize at the Amsterdam World Press Foundation. Later on he travelled to Nigeria (1968), Cambodia (1970), Pakistan (1971), Uganda (1972), the Middle East during the Kippur war (1973), Phnom Penh, Cambodia (1975) and following other major conflicts in the years to come.
Born in Lagos, Nigeria in 1963. After attending the Universities of Oxford and Bristol, Simon Norfolk studied Documentary Photography at Newport in Gwent. He learnt photojournalism working for the far-left press through the early Nineties, in particular as staff photographer for Living Marxism Magazine. In this time he did extensive work on fascism and the far right (especially the British National Party), anti-Racism issues, the Poll Tax and Northern Ireland. Simon also covered Eastern Europe at the fall of the Berlin Wall and issues around resistance to the Gulf War. He still work's for a variety of British and European magazines. Simon gave up photojournalism in the mid nineties in favour of landscape photography and began work on his book 'For Most Of It I Have No Words: Genocide, Landscape, Memory'. This work focuses on the landscapes and remains of the places where genocide took place in the 20th century. The project took four years to complete and was published as a book in 1998. The exhibition of the work has toured throughout the UK and Europe and is presently touring in America. Simon is currently working on a project about the 500-year genocide of the Indians of North America.
Born in 1944 in Aimers in the Brazilian state of Minas Gerais, Salgado now lives in Paris. Educated as an economist, he began his photography career in 1973 after a mission journey to Africa. Salgado then spent six years in Latin America studying the life of the poor in the fields. This work gave birth to his first book, Other Americas, published only in 1986.
In 1973 following a long collaboration with Medicins sans Frontières he covered the drought in northern Africa (Sahel) giving birth to another book, Sahel: Man in Distress (also published in 1986). Salgado then reported the difficult labour conditions of immigrants in Europe and in 1974 he entered the photographic agency Sygma. He chronicled the revolution in Portugal, the war in Angola, and the events in Mozambico and in 1975 he was taken by the agency Gamma. In 1979 he joined the Magnum Photos Agency and continued to photograph throughout the world, but left the agency in 1994 to work independently and establish with his wife -Lélia Wanick Salgado- the company Amazonas Images. The company is primarily involved in documenting the lives of the world's dispossessed and in testifying to the fundamental dignity of all humanity, protesting its violation by war, poverty and other injustices. From 1986 to 1992 he documented manual labour world-wide, resulting in a book and exhibition called Workers, a monumental undertaking (400 pages, translated in seven languages and presented as an exhibition in over sixty museums and venues). From 1993 to 1999, he turned his attention to the global phenomenon of mass displacement of people, formerly publishing his stills in international known magazines and newspapers as: D la Repubblica delle donne in Italy, Stern in Germany, Paris Match in France, El Pais in Spain, Visão in Portugal, Rolling Stone and New York Magazine in the United States, Folha in São Paulo in Brasil, successively resulting in the internationally acclaimed books Migrations and The Children published in 2000.
Joel Peter Witkin
Istituto Nazionale per la Grafica - Palazzo della Calcografia
via della Stamperia, 6 (Fontana di Trevi) Roma Italia
OPEN: Tuesday-Sunday, 10 /19
closed on Monday