For more than 15 years Davide Monteleone documented the events and the daily life in Russia and the former Soviet Union. Apart from many assignments and personal projects Davide Monteleone has collected a selection of photos, a sort of a personal diary, depicting his time in the region during these years. A selection of these small prints, part of his personal archive, is presented at the exhibition "Vento Dell' Est" at NONOSTANTEMARRAS in Milan. In occasion of the last week of the exhibition (closing April 7th 2018) a selection of 30 prints 18x18cm is offered on sale for a limited time.
"Reindeer were clustered on the ground, shaking and panting. Patches of their fur seemed to have fallen off, leaving them splotchy; the animals were emaciated, their ribs visible." A report by Noah Sneider and my photos on a mysterious illness affecting Russia’s reindeer on the April issue of Harper's Magazine.
My latest together with Noah Sneider for The Economist about the Russian teens. "Those born the year Mr Putin first came to power. They will all have spent their entire lives in Putin’s Russia, and will be eligible to vote for the first time this year. that grow up under Putin presidency"
Quante possono essere le trame possibili in un racconto? E quante in un racconto visivo? Caduta e ascesa e il suo contrario, ossia ascesa con ricaduta. E lo scheletro delle tragedie classiche e shakespeariane: caduta, ascesa e ricaduta. Quella di Davide Monteleone è una trama appassionante che, con uno sguardo originale e un punto di vista molteplice, prende in considerazione le relazioni tra il sé e le mutate condizioni dell’esperienza umana. Tutte le sue fotografie cercano di stabilire confronti, misurare distanze, constatare fratture.
“War is Only Half the Story” is a ten-year retrospective of the work of the groundbreaking documentary photography program, The Aftermath Project, which for a decade has supported post-conflict storytelling by some of the world’s best photographers. As a grant-making educational non-profit, The Aftermath Project was founded to help change the way the media covers conflict – and to educate the public about the true cost of war and the real price of peace.
"In the fall, the photographer Davide Monteleone traced stretches of one of the land routes, travelling from Yiwu, in the southeastern province of Zhejiang, to Khorgos, home to one of the world’s largest dry ports, and to Aktau, in Kazakhstan, on the Caspian Sea."
"Issue #7866" begins all the way back in 1917 with Moscow-based Italian photographer David Monteleone’s new book The April Theses, an immersive retracing of Lenin’s journey back to Russia from political exile in Zürich. Uncovering notes, bills and letters enabled the photographer to re-imagine a near step-by-step route, going so far as to dress in a suit similar to one Lenin might have worn, growing his beard, and adopting his stance to assume his role, in photographs taken in places Lenin would have travelled through.
uali sono le radici di una rivoluzione? Cosa è accaduto nelle ore immediatamente precedenti e successive al ritorno di Lenin in Russia, evento che ha determinato lo scatenarsi della Rivoluzione d’Ottobre, uno degli eventi storici più cruciali di sempre? Nel centenario della Rivoluzione Russa, dialoghiamo con Davide Monteleone, fotografo documentarista e autore del libro The April Theses (Postcart, 2017) che ricrea la cronologia delle due settimane che hanno preceduto la diffusione delle celebri “Tesi di Aprile” di Lenin e Guido Carpi, professore di letteratura russa all’Orientale di Napoli e autore del volume Russia 1917 (Carocci, 2017).
The International Master in Documentary Photography with Davide Monteleone is addressed to all those who have a photo project or a defined idea to develop and it aims at helping the students in facing documentary photography practice through its professional, technical, creative, theoric and ethical aspects.
One hundred years after the Russian Revolution, Lenin Lives, co-curated by Lia Newman, Gallery Director/Curator, and Roman Utkin, Assistant Professor of Russian Studies, explores the afterlife of one of the most enduring and spectacular personality cults of modern history – the worship of the first Soviet leader, Vladimir Ilyich Ulyanov – Lenin (1870-1924). As the myth of the immortal Lenin developed, the image of the Revolution’s iconic leader became, not ironically, larger than life. For the rest of the tumultuous twentieth century, Lenin came to embody the idea of communism and the Revolution itself.
Elena Isinbaeva on the cover of D La Repubblica, text by Rosalba Castelletti.