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From June 11th to November 13th, 2016 Fort of Bard, the main cultural center of Aosta Valley, hosts the exhibition Elliott Erwitt – Retrospective. Organized by Fort of Bard in collaboration with Magnum Photos International Paris, the exhibition presents the world premiére of a new retrospective project belonging to Elliott Erwitt’s work, one of the great protagonists of nowadays photography.

The images were selected from his most significant and iconic production and they cover a time span from 1948 to 2005. Andrea Holzherr, Global Exhibitions Director of Magnum Photos International, Paris and Gabriele Accornero, Ceo of Bard Association curate the exhibition. 137 photos will be exhibited in the cellars: they will include a time span ranging from 1948, the year of View of New York photos, USA till 2005. Nine sections in which the exhibition is divided between shots in black and white and shots in colour: Beaches, Cities, Abstractions, Museum Watching, Dogs, Between the Sexes, Regarding Women, Kids, Personalities.
The exhibition also features a video with an interview with the photographer recorded in his studio in New York exclusively for Forte of Bard.

The French photographer Elliott Erwitt describes the art that, through the language of images, allowed him to tell a journalistic view to the last sixty years of history and contemporary civilization, taking in a series of shots in black and white the most tragic aspects of life and the most fun that passed in front of his goal.

Born in Paris in 1928 by a Russian Jewish family, Elliott Erwitt spent his childhood in Italy and moved permanently to the United States in 1939, first in New York and then to Los Angeles, where he studied photography and cinema. After serving as a US Army photographer in France and Germany, he began his career as a freelance photographer. In 1953 he joined the historical agency Magnum – founded at the end of World War II by a group of photographers including Henri Cartier-Bresson and Robert Capa – and in 1968 he also became president. Erwitt uses the snapshot privileged language to compose a visual narrative which shows all the irony of a world frozen in bizarre poses, but also the unexpected formal perfection that can result from the case.