MILAN - The war faced on the front line and the daily life of the soldiers at the front.
Trenches, fights, the anticipation of the confrontation and the routine moments that marked the day, the rallies, the distribution of gifts, the hour of the ration, the cutting of beard and hair, the letters to write for relatives at home, the recollection during a religious service.
Over a century old shots that tell the Great War of the Italian military and the terrible experience, the dramas and tragedies of every conflict.
There is time until May 29 to reflect on the over 120 unpublished shots of '' Images from the front '', on show for the first time at the Matalon Foundation, in Milan, selected by Eleonora Belloni and Alessandra P.
Giordano from a photographic collection of the Cesare Pozzo Transport and Mutuality Library.
The exhibition presents mostly original material, the other photographs are reproduced in enlargements which, on the one hand, make the details more legible, and on the other, avoid the wear of the fragile original prints.
The choice of the temporal definition - the Great War 1914-1918 - as well as that of the set-up and the thematic division indicate the desire to overcome the Italian point of view of the war, despite the fact that the photos largely portray the tricolor front.
The story proceeds along three lines: "The first line", "The front", "Beyond the borders".
To these is added a section of images by the "official" photographer of the Great War, Luca Comerio.
The authorship of the images, to which it was possible to trace thanks to the stamps on the back of the photographs, largely refers to the photographic and cinematographic sections of the Royal Italian Army and the Supreme Command, but there are also images taken by private photographic laboratories.
Lines of attack and resistance, lookouts and prisoners, shelters and moments of action thus alternate with expectations and an 'after' made up of destruction and ruins of cities, establishments and military objectives.
There is also a small nucleus of images dedicated to the material instruments of war, weapons and ammunition, to remember how the great conflict that opened the Short Century was also the first theater of war in which largely new techniques and technologies were tested,
the result of about a century of technological and industrial development that had invested the entire Western world.
It was precisely these warlike skills, together with that of mobilizing men and resources - the curatics recall - that steered the fate of the conflict by helping to redesign the new world order.
'' The two themes on which the exhibition develops - they observe - intertwine until they are often aligned on an almost imperceptible border: the concept of the front line, a city destroyed by bombing, a woman digging a trench in the mud, are all the effects of a war, like a body of artillery in action, the before and after, are nothing but faces of the same capacity that a conflict has to produce destruction, death, lacerations and rubble ''.
whole western world.
It was precisely these warlike skills, together with that of mobilizing men and resources - the curatics recall - that steered the fate of the conflict by helping to redesign the new world order.
'' The two themes on which the exhibition develops - they observe - intertwine until they are often aligned on an almost imperceptible border: the concept of the front line, a city destroyed by bombing, a woman digging a trench in the mud, are all the effects of a war, like a body of artillery in action, the before and after, are nothing but faces of the same capacity that a conflict has to produce destruction, death, lacerations and rubble ''.
whole western world.
It was precisely these warlike skills, together with that of mobilizing men and resources - the curatics recall - that steered the fate of the conflict by helping to redesign the new world order.
'' The two themes on which the exhibition develops - they observe - intertwine until they are often aligned on an almost imperceptible border: the concept of the front line, a city destroyed by bombing, a woman digging a trench in the mud, are all the effects of a war, like a body of artillery in action, the before and after, are nothing but faces of the same capacity that a conflict has to produce destruction, death, lacerations and rubble ''.
together with that of mobilizing men and resources - remember the curatics - to direct the fate of the conflict by helping to redesign the new world order.
'' The two themes on which the exhibition develops - they observe - intertwine until they are often aligned on an almost imperceptible border: the concept of the front line, a city destroyed by bombing, a woman digging a trench in the mud, are all the effects of a war, like a body of artillery in action, the before and after, are nothing but faces of the same capacity that a conflict has to produce destruction, death, lacerations and rubble ''.
together with that of mobilizing men and resources - remember the curatics - to direct the fate of the conflict by helping to redesign the new world order.
'' The two themes on which the exhibition develops - they observe - intertwine until they are often aligned on an almost imperceptible border: the concept of the front line, a city destroyed by bombing, a woman digging a trench in the mud, are all the effects of a war, like a body of artillery in action, the before and after, are nothing but faces of the same capacity that a conflict has to produce destruction, death, lacerations and rubble ''.