Ivor Prickett, Slavica Eremic feeds her baby son Nikola while her husband sleeps. Photography from the series Returning Home – Croatia / Courtesy and © Ivor Prickett
Ivor Prickett / No Home from War: Tales of Survival and Loss
Apr 30 – Jul 30, 2023
Collezione Maramotti
Reggio Emilia, Italy

In conjunction with the 2023 Fotografia Europea festival, titled Europe Matters: Visions of a Restless Identity, Collezione Maramotti is presenting No Home from War: Tales of Survival and Loss, the first Italian exhibition by photojournalist Ivor Prickett.

With over fifty photographs taken in conflict zones from 2006 to 2022, No Home from War is the largest show of Prickett’s work to date. The exhibition retraces Prickett’s career to date, following the chronological order of the photos. From 2006 to 2010, his work in the Balkans and the Caucasus centred above all on individuals and small family groups, as units of resistance embodying the struggle for re-existence.

In his photos of the Serbian minority in Croatia, displaced by the war in ’90s, or his portraits of the Georgian Mingrelian population in Abkhazia, one can feel a loneliness as commonplace as it is profound.

The humanitarian crisis sparked by the war in Syria, with millions of refugees in the Middle East and migrants in Europe, is the subject of a body of work that Prickett made between 2013 and 2015. Here, his focus shifts from private life to the outside world: it captures a time when people were being forced to move, filling refugee camps or risking their lives to embark on journeys into the unknown.

Prickett also documented the brutal war against the Islamic State (ISIS) in Iraq and Syria from 2016 to 2018, eliminating every spatial and temporal distance from the scene of conflict and taking photos on the front lines, where he was embedded with Iraqi forces.

With the outbreak of the war in Ukraine in 2022, Prickett’s eye initially lingered on the collapsed buildings, the empty holes left by bombings: these vast architectural wounds become material, metaphysical signs of how domestic and personal space is being destroyed, opening a window onto the atrocity of the war now unfolding in Europe.

Through his framing and composition of the shots, and his choice not to alter the available light from which the figures, settings and details emerge, Prickett creates iconic images that echo classic subjects and motifs from religious iconography and art history.

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