Page 29 - AIT1216_Leseprobe

Luca Sironi

1973 in Mailand geboren, Ausbildung am Rizzoli Institute of Graphic Arts in Mailand und Visual Arts an der Universität von Bergamo 2003 Civic School of Film and New Media in Mailand
2004 Spazio Forma International Center of Photography in Mailand seit 2006 Foto- und F ilmprojekte seit 2008 Fotoserien und Veröffentlichungen zu K unst und Architektur 2014
„Veröffentlichung der Serie „The Festive Day“ 2015 Veröffentlichung des Fotobuches „Closed for vacation“ 2016 Einzelausstellung Space Place Gallery in Niznij Tagil „Fragments of Justiz“

Gerichtshof in Cremona, links
Das Gerichtsgebäude in Cremona wurde 1799 von dem
Architekten Faustino Rodi für den Marquis Silva als
neoklassischer Palast erbaut. Der hier gezeigte Gerichts -
saal war ursprünglich die Kapelle des Palastes. Trotz
des Funktionswechsels blieb der Kirchenraum mit seiner
prachtvollen Ausgestaltung unverändert. Lediglich das
Mobiliar weist auf seine neue Nutzung hin.

Courthouse of Cremona, left
Cremona Courthouse was built in 1799 on behalf of the
Mar quis Silva by the architect Faustino Rodi, influenced
by the neoclassical principles. The courtroom depicted
in the photograph was originally the chapel of the
palace of the Marquis and, despite today's function is of
a different type, it retains the highly evocative aura.

Gerichtshof in Padova, rechts
Zwischen 1984 und 1994 entstanden, trägt der
Gerichtshof in Padua die Handschrift des Architekten
Gino Valle. Das Gebäude ist streng geometrisch organ-
isiert und verfügt über einen riesigen, zylinderförmigen
Innenhof. Wie am Gerichtssaal zu erkennen, sind die
Innenräume klar strukturiert und wirken dank ihrer
Überdimen sionierung spektakulär.

Courthouse of Padova, right
The courthouse was realized between 1984 and 1994
and bears the signature of architect Gino Valle. The
palace is played between the squared shape outer
structures and a huge central half cylinder, emptied
inside to create a tree-lined courtyard. The interiors, as
can be seen from the courtroom are clean and spectac-
ular in their oversizing.

abspielt. Die k argen Richterbänke, die be drohlich wirkenden Käfige, die Kru zifixe, feelings, perceptible only if we take the time to observe, as external viewers, these
deren Gegenwart heute eher schwer zu verstehen ist – das sind nur wenige, eindrück- areas when they are not use d. Sudd enly what you know about justice can take
liche Merkmale; ebenso wie die Inschrift: „La legge è uguale per tutti“, was so viel shape. Snapshots of particularly relevant court cases can be r eminded, cases that
bedeutet wie: „Da s Ge setz ist f ür alle g leich“. Eine Art Man tra, das ein t iefes captured our imagination over the years. We can find the opportunity to think about
Bedürfnis in unserem Bewusstsein befriedigt und gleichzeitig nicht die Realität ver- the importance and sensitivity of the events that take place here every day, trying to
schleiern sollte, dass jede Strafe von der persönlichen Einstellung und der Lebens - imagine the difficulties of those being judged and the heavy responsibility on those
geschichte des jeweiligen Richters abhängt. Der menschliche Faktor im System, der who must judge another human being. Real emotional earthquakes occur in these
den R echtsablauf g enauso g ut s tärken wie s chwächen k ann. U ngewiss u nd spaces, t ransformed every day in to a st age on which a r outine of tragedies and
unvorhersehbar ist o ft das , was in de n Ger ichtsräumen g eschieht. Doc h die controversies is held. The austere judges' benches, the ominous looking cages, those
Gerichtssäle selbst eint das Gegenteil: Strenge, Symmetrie und die Pflicht gnadenlos crucifixes whose presence today is perhaps difficult to understand, these are some
und streng zu erscheinen. of the features within these environments, as well as the inscr iption: "La legge è
uguale per tutti” (“The law is equal for all"), a kind of mantra, which certainly fulfills
T he I talian justice s ystem mo ves s lowly, in volving e very da y an impr essive a deep need of our consciousness but that should not obscure the reality of things:
number of pe ople. In the c ourtrooms there's a c ontinuous bustle of judges,
"tot capita tot sententiae", each sentence depends on the personal attitude and his-
prosecutors, lawyers, defendants, witnesses, clerks, journalists and policemen. This tory of each judge, a human being and not an abstract decision-making entity. The
crowding is r eplaced by the typical quiet of the c losing hours, when the de serted human element on the one hand makes imperfect the course of justice, but on the
courtrooms do not seem to forget the speeches and debates: a lawyer's robe thrown other it may fix, through its flexibility, some very complicated cases. The human ele-
over a chair, a folder waiting to be rescued, marginal elements that may in some way ment. Uncertain and unpr edictable. In c ontrast to these courtrooms, so r igid and
bring to mind an idea of what happened during the trials. These are fragments of symmetrical that if you look carefully, it seems to have the duty to appear ruthless.

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