In the Museum of Rome in Trastevere the tribute to Tina Modotti, photographer and militant – Rome

Roma – From “his” “Udine to Mexico City, pass by Los Angeles, San Francisco, Berlin, Vienna, Moscow, Paris, Madrid, Tehuantepec, between women who have washed the role in the river, fairs and lots of love, many lives in just 45 years.
Pablo Neruda called her “sister”. And it is especially for this specific link with the militant photographer that the poet felt serious pain (followed by indignation) when Tina, caught by illness on January 5, 1942, died for a heart attack, a taxi of the Vidge who fell her home freight in the house of the German Refinion, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorio, Vittorioio, Vittorio Vittorio Viduge, Vittorio, Vittorio, Vittorio Vidug. During the civil war of Spain against franchism.
A death surrounded by unclear circumstances. That is why Neruda’s outrage after public opinion had built up the murder of Julio Mella, who took place twelve years earlier, in which Tina was accused of an accomplice.
The defamators attributed the disappearance of Modotti to a political crime that was introduced by the partner of the photographer who, recurring from Spain, no longer wanted to know about that communist party to whom he had been dedicated for a lifetime. Was he eliminated as a woman who saw and knew many things?
There is a lot of life (in addition to the photos of the fragile and iron modotti) enclosed in the exhibition Tina Modotti, woman, photographer, militant. A life between two worldsat the Museum of Rome in Trastevere Until September 21, Exhibition Itinerary Promed by Roma Capitale, Department of Culture, Capitoline Superintendence for Cultural Heritage, By the Association of the History and Memory APS of Albano Laziao, The Archive of The Archive of the Secretaries, The Archive of The Archive of the Secretariatary of the Secretariatary of the Secretariatary of the Secretariatary of the Secretariatary of the Secretariatary of the Secretariatary of the Secretariatary of the Secretariatary of the Secretariatary or MEHLOVOIATIATIATIATIATIATIATIATION, Phototeca or inah.

Tina Modotti, Calle, 1924

About 60 among photos, letters, texts, documents and articles invite visitors to find out the life and work of the photographer, actress and Italian-American political activist, a connection between Italian and Mexican culture. His works tell the path, the integration, the sentimental and artistic bond with the cultural environments of that time and the radicalization in the Mexican Communist Party, taken to the last photos during the exile of Berlin, in 1930
And here he is with the flag or in the company of the Tehuane, women Zapotes, almost mythological figures, organized in a form of matriarchy, who practice free love and only follow religion on vacation.
On the photos that they, unique in their kind, portray to put together an interesting social reportage, Tina records his composite pride with humility and realism. These are his last photos made in Mexico, before the removal because of his revolutionary photography.

Tina Modotti, Baby and a young farmer, 1927

He had emigrated to the United States as a young man, Tina. He had worked in a textile factory before moving to San Francisco, where he had undertaken a short experience in theater and cinema. Here the meeting with the photographer Edward Weston, who became his partner and mentor. In 1923 the arrival in Mexico, in contact with the artistic and political environment after the revolution.
His photos, which vary from stationary death to portraits of employees and activists, reflect the growing communist commitment. Friends of Diego Rivera, Frida Kahlo and Siqueiros, joined the Mexican Communist Party in 1927, and participated nine years later in the Spanish Civil War with international brigades, operating as a nurse and propagandist.
After the defeat of the Republicans, he returned to Mexico under false identity. The photographic production, only posthumously revised, is today devoting it as a pioneer of social photography and authentic voice of political involvement by art.