"The apocalypse twenty-first century is cold, wet, windy. Human figures, in the empty void of a horizon too hazy, try not seem to want more or anything. Perhaps the 'Hell is just that: a place where everything has already happened, beyond repair. Paolo Pellegrin is silent when browsing the 'album of his last ten years as a photographer: the Italian photographer perhaps more appreciated today in the world. Is not convinced of these impressions: "There are men, women, everything is not over yet as long as there are men and women." He has just returned from Egypt, where he photographed the revolt for Newsweek, and perhaps this is what makes him more optimistic today, "a wonderful thing, huge, I hope it is a beginning, now I want to go to Iran and in all places where it can tell the purpose of regimes and the beginning of redemption. " If those guys in Cairo began a new story, maybe he was right to throw him out right now Pellegrin's first recapitulation of the world has seen and showed in the last ten years, which are also the top ten of a millennium. Perhaps it is released, so the weight of a ruthless decade, the decade of the fire from heaven. "It is not an 'anthology of things done, I looked for a thread."
is not a portfolio is indeed a world view. He would not even put the captions, the division into chapters. Dies Irae , the title it to him suggerito Roberto Koch, fotografo ed editore di Contrasto , e lui l'ha accettato dopo un'esitazione. Perché Paolo Pellegrin si sente, è un umanista, e il solvet saeculum in favilla del pianeta non gliè piaciuto proprio raccontarlo così; ma è anche un fotografo, e sa che era suo dovere farlo. Romano, quarantasei anni, figlio di architetti, padre da poco più di un anno, asceso all'olimpo dell'agenzia Magnum nel 2001 dopo una lunga esperienza con i francesi di Vu. Era l'anno delle Torri Gemelle, e da allora è partito all' inseguimento di tutti i frammenti di Armageddon, di tutti gli acconti di apocalisse offerti dalla cronaca alla storia: Iran, Katrina, Libano, Tsunami, Gaza, Haiti, Cambogia, Kosovo ... Had been born a generation or two earlier, Pellegrin was a "war photographer" as Capa, as Griffiths, as Burrows, as McCullin. No longer existed, because there are no more wars. Those who still call it inertia, rather than disasters are local entropy of a state of global politics. Natural or man-made, it is even difficult to distinguish a catastrophe on the other, when you get inside, so the scenery is always the same: cold desert, despair, dust, bodies, mud, human beings who were the first victims and are even more later. Very few of the regular uniform in these pictures. Even where you fight with bullets, "the front there, the first line there 'is, space is chaotic, the danger is everywhere and nowhere. " It's a missile that explodes a few meters from photographers face as the scene of a bomb: this also happened to him, in Tyre, South Lebanon: he escaped, went back, took pictures, so what's the point I run far, far away where, from what? "I came back not knowing what to do, just because I did not accept to run away without giving a sense."
Pellegrin is a photographer of the era of uncertainty. The self-confidence that had Concerned photography of the last century is gone. Pellegrin photographed not straight, direct, geometric as CartierBresson. Do not go looking for the lost beauty as Salgado running in the opposite direction to its back to the Scriptures Genesis. He learned something about the way to tell from his masters, the Koudelka of Chaos the of Peress Telex Iran : his shots off balance, shaking as if under the impact of a grenade, the fire is out of focus The horizon bends, the photographer takes pictures of his own limitations, its inability to understand everything, 'the only thing you control is your willingness to get in the game, "a witness agrees to be weak, a collector of finds in the rubble of the events, which offers readers as he found them, collected, retained in some form, as well as dimly understood them, asking them to help understand more. But it does not sink into the abyss as the commandant of Kurtz Heart of Darkness, does not give to horror, it becomes a "friend of horror." Pellegrin of law and loves the McCarthy Road , apocalyptic novel, but illuminated by a flash of hope in their last lines. "There is always somewhere a desire to survive, a desire for redemption. The cornerstone to which m 'support is to tell people. Wherever it went, I met often simultaneously face the worst and best of men face. " In particular, in the face of women. Who do not fight, but is a field of combat, as their bodies, their gestures, their tears to show 'goal. Supported by other women, or too much sun in the streets deserted, surrounded by empty, look at that empty space, as new and still fearing the worst disasters: Quantus tremor est futurus ... It is the endless "day of wrath," Judgement of the damned crowded but without ultimate judge. Capa, weary of explosions, dreamed of being a "war photographer unemployed." Pellegrin has closed a long Dies Irae ten years between two covers, perhaps dreaming of becoming a Thomas of Celano unemployed. Tahrir Square in hopes of having found the opening words of another, different book. "(from Michael Smargiassi, Ten years Apocalypse," La Repubblica ", 20/02 / '11)
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