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MAGNUM LIFE : Il Fotogiornalismo Che Ha Fatto La Storia

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MAGNUM LIFE : Il Fotogiornalismo Che Ha Fatto La Storia 1 MAGNUM LIFE IL FOTOGIORNALISMO CHE HA FATTO LA STORIA SILVANA EDITORIALE 2 3 MAGNUM LIFE CATALOGO A CURA DI MOSTRA A CURA DI RINGRAZIAMENTI La prestigiosa struttura del Museo del violino Marco Minuz Marco Minuz Roberta Barbaro di Cremona ospita, dal 31 ottobre 2014 all'8 febbraio IL FOTOGIORNALISMO Gabriele Bomben TESTI COORDINAMENTO Ludovico Bomben 2015, la mostra la nascita di Magnum. Robert Capa Henri CHE HA FATTO LA STORIA Marco Minuz E ORGANIZZAZIONE Carlo Enrico Bonvicini Cartier-Bresson, George Rodger, David 'Chim' Seymour, Giada Centazzo UNOMEDIA Maurizio Calcinoni nell'ottica di una sinergia volta ad avviare e consolidare 4.03—11.06.2017 SUAZES INTERVISTE Gabriella Cecotti il ruolo di importante spazio espositivo del polo museale. Cremona. Museo del Violino IN COLLABORAZIONE CON Bruno Barbey Lisa Comandù Il complesso architettonico, recentemente restaurato Uliano Lucas Museo del Violino Sergio Campagnolo Magnum Photos Paola Carlomagno dalla Fondazione Arvedi Buschini e dal Comune di COORDINAMENTO EDITORIALE Dario Cimorelli Cremona, esprime, in tale occasione, anche il proprio SEGRETERIA ORGANIZZATIVA Giada Centazzo Marco Citron Mariagrazia Posca ruolo di contenitore culturale capace di arricchire Renato Corsini IN COLLABORAZIONE CON e nobilitare esposizioni e mostre in un dialogo di PROGETTO GRAFICO Gigi Cuba queste due pagine sono Magnum Photos, valorizzazione reciproca. exhibition’s department: DM+B&Associati Sergio Di Stefano SUPPORTO / WITH THE CONTRIBUTION OF Il percorso espositivo indaga e ricostruisce i passi Clarisse Bourgeois Flavio Fasan ALLESTIMENTO Angela Felice evolutivi che hanno portato alla nascita della più celebre Andréa Holzherr Immobiliare Raffella Micol Fontana agenzia fotografica del mondo: la Magnum Photos. Charlotte Lembert Seri-Art da ultimare Elodie Régnier Gilberto Girardi Per la prima volta vengono esposti insieme i reportage MAIN SPONSOR VIDEO Tiziano Neviani dei quattro fotografi fondatori (Robert Capa, Henri PROGETTO GRAFICO Studio1 Musi ???? DM+B&Associati Stefano Pelliciardi Cartier-Bresson, George Rodger, David 'Chim' Seymour) Patrizio De Mattio TRASPORTI Michele Pizzi realizzati sotto l'egida di Magnum. Steno Gava PATROCINIO / UNDER THE PATRONAGE OF Stefano Prinzivalli In filigrana, emerge anche il contesto storico che creò Maurizia Quaglia ASSICURAZIONI il terreno fertile per la fondazione dell'agenzia. Tra le Willis Stefania Reali due guerre, infatti, nasce il moderno fotogiornalismo Andrea Silla TRADUZIONI Mario Silla supportato da una serie di coincidenze tecniche Luana Venturini Lucia Toffoli ed editoriali come l'uscita sul mercato della macchina Marco Tonus UFFICIO STAMPA fotografica Leica e la nascita delle riviste illustrate. PARTNER Studio Esseci Marco Ustulin Il 22 maggio 1947 si concretizza la lunga gestazione Virginia Villa ideativa di Robert Capa che, attraverso la formula SITO Marco Zanus Perelda Dueper Design cooperativa, riesce a preservare i diritti editoriali e d'autore dei fotografi associati. CATALOGO MEDIA PARTNER Il museo si pregia di accogliere e dare il benvenuto Silvana Editoriale A quello che sempre rimane fra Dino ed Antonietta a tutti i visitatori che vorranno avvicinarsi a questo evento espositivo accolto all'interno della cattedrale della musica. PARTNER TECNICI / TECHNICAL PARTNERS ORGANIZZAZIONE / ORGANIZATION GIANLUCA VIRGINIA VILLA GALIMBERTI Direttrice Sindaco di Cremona Museo del violino Antonio Stradivari Museo del violino www.magnumlifecremona.it 4 5 SOMMARIO 8 PER ME SI VA TRA LA PERDUTA GENTE MARCO MINUZ 21 PHILIPPE HALSMAN 101 LIFE’S COVERS (1942-1972) 29 QUANDO SEI NELLA LIBERTÀ INTERVISTA A ULIANO LUCAS 39 DOVEVA ESSERE LA MIA STORIA INTERVISTA A BRUNO BARBEY 47 ROBERT CAPA GUERRA CIVILE SPAGNOLA (1936-1939) 63 ROBERT CAPA D-DAY E L’AVANZATA ALLEATA (1944-1945) 81 ROBERT CAPA INDOCINA (1954) 85 WERNER BISCHOF INDIA/BIHAR (1951) 103 WERNER BISCHOF COREA (1952) 117 DENNIS STOCK JAMES DEAN (1955) 145 FOTOGRAFI MAGNUM THE MISFITS (1960) 173 BRUNO BARBEY VIETNAM (1971-1972) 192 BIOGRAFIE 6 7 PER ME SI VA MARCO MINUZ TRA LA PERDUTA GENTE DANTE, INFERNO I fotografi, come i pittori, ci hanno insegnato a anni e in generale dell’impatto della stampa illu- vedere. Non si tratta solo di valutare il valore ar- strata nell’immaginario collettivo. tistico o il significato sociale di un documento La modernità ci ha donato l’invenzione della fo- fotografico, ma di non dimenticare che non solo tografia, mezzo che fin dai suoi esordi ha inne- vediamo ma anche fotografiamo come loro ci scato entusiasmi, diffidenze, paure e conflitti. La hanno insegnato. Siamo inoltre abituati a vede- fotografia rappresenta la vita moderna con tutte re la storia, soprattutto i grandi eventi, tramite i le sue contraddizioni. La fotografia suscita la no- loro occhi. Lo sguardo attraverso cui oggi osser- stra ambivalenza nei confronti della tecnologia. A viamo la storia è uno sguardo ‘professionale’, in differenza della pittura, della musica, della danza cui convergono curiosità, pietà, senso estetico, e della narrativa, non è iniziata migliaia di anni fa crudeltà e profanazione1. Nello spazio di signi- con l’uomo innocente e primitivo, ma meno di due ficato circoscritto da queste parole si sviluppa secoli or sono con l’uomo moderno già corrotto. E questo progetto, basato sul rapporto fra la cele- a differenza di altre forme espressive, dipende da bre rivista americana “Life” e l’agenzia fotografi- una macchina e da un processo chimico. La foto- ca Magnum Photos; un confronto fra le principali grafia, insomma, è un’arte (o un mestiere) impura, caratteristiche di queste due mitiche realtà im- ‘sconcertante’, a cui ci accostiamo con quel misto piegando alcuni storici reportage realizzati dai contradditorio di aspettativa e diffidenza, di glo- fotografi membri dell’agenzia e pubblicati dal riosa speranza e terribile premonizione, con cui ci settimanale americano. siamo accostati all’era della macchina2. Un rapporto non scontato che permette di riflet- Gradualmente il fotografo ha assunto una posi- tere sul valore della fotografia nel mondo della zione importante nella storia con rilevanti valenze carta stampata e sulle sue caratteristiche, veico- sociali, culturali e politiche. Il suo lavoro è testimo- late dall’appartenenza a una realtà come quella nianza diretta della dimensione assunta dalla fo- Magnum. Al contempo permette d’interrogarsi sul tografia nella vita quotidiana e dell’influenza che ruolo del fotografo e del giornalista nel corso degli essa esercita nella nostra quotidianità. 8 9 La volontà di questo progetto è proprio quella di grafi come Robert Capa e Alfred Eisenstaedt e si vedere l’opera dell’uomo: dipinti, torri e scoperte; niquità, nella povertà e nel razzismo immaginando investigare su questo rapporto, fra “Life” e Ma- formano i primi teorici dell’immagine fotografica vedere cose distanti migliaia di chilometri, cose e mostrando un mondo e una nazione migliore. gnum Photos, che si articola in implicazioni cultu- come Siegfried Kracauer e Walter Benjamin. nascoste dietro muri o dentro stanze, cose perico- “Life” era una rivista per la famiglia media ame- rali, sociali ed economiche. Per fare questo è ne- Berlino era diventata un luogo meraviglioso per il lose da avvicinare; le donne che gli uomini amano ricana che veicolava un’immagine positiva degli cessario costruire un quadro di riferimento storico giornalismo e la fotografia di reportage; in quegli e molti bambini; vedere e gioire nel vedere; vedere Stati Uniti d’America e del suo capitalismo; costru- per collocare queste due esperienze. anni contava infatti 47 quotidiani e una cinquanti- ed essere sorpresi; vedere e apprendere”. La foto- iva nel lettore l’idea di una nazione dalle grandi na di settimanali. La figura sociale del fotorepor- grafia rappresentava il miglior strumento per vei- opportunità, un Paese aperto a tutti e in grado di Il fotogiornalismo dopo la fine del primo conflit- ter non godeva ancora però di grande prestigio. colare questo messaggio grazie alla credibilità che realizzare i sogni. to mondiale vive uno rapido sviluppo, soprattutto La sua professionalità si limitava a trasmettere ciò le veniva attribuita e alla sua immediatezza. La fotografia, grazie alla sua patente di specchio grazie alle innovazioni tecniche; un aspetto impor- che vedeva, al pari del cronista. I fotoreporter non Per la prima copertina venne incaricata Margaret della verità, rappresentò uno strumento fonda- tante è il perfezionamento dei metodi per la ripro- ricevevano lo stesso rispetto e trattamento dei Bourke-White allora nota soprattutto per il suo la- mentale perché raccoglieva la fiducia del lettore duzione di fotografie direttamente sulla pagina colleghi giornalisti e il loro nome non compariva voro fotografico in ambito architettonico. Realizzò americano e permetteva, indipendentemente dal- stampata; un altro è l’invenzione di macchine foto- accanto alle foto pubblicate. Vi era una scarso ri- un servizio sulla costruzione della grande diga di le sue origini e dalla sua estrazione sociale, di fargli grafiche di piccole dimensioni, come la Ermanox e conoscimento per questo mestiere perché si rite- Fort Peck nel Montana, uno dei simboli della mo- comprendere immediatamente il messaggio vei- la Leica, con obiettivi molto luminosi, che permet- neva che chiunque potesse ricoprire questo ruolo. dernità americana e del programma del New Deal colato. Una grande operazione di costruzione di tevano di operare con discrezione e in condizioni Solo il lavoro di grandi fotografi riuscì a sdoganare di Roosevelt. In
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