{"id":8380,"date":"2022-10-08T09:40:34","date_gmt":"2022-10-08T07:40:34","guid":{"rendered":"https:\/\/pompeiicommitment.org\/?p=8380"},"modified":"2022-10-19T12:03:18","modified_gmt":"2022-10-19T10:03:18","slug":"pompei-per-lucraina-una-lettera-dal-fronte","status":"publish","type":"post","link":"https:\/\/pompeiicommitment.org\/en\/agenda\/pompei-per-lucraina-una-lettera-dal-fronte\/","title":{"rendered":"Pompei for Ukraine. A Letter from the Front"},"content":{"rendered":"<p class=\"\"><strong class=\"\">Pompei for Ukraine.\u00a0A Letter from the Front<br \/>\n<\/strong><strong class=\"\">NIKITA KADAN\u00a0with\u00a0GIULIA COLLETTI<br \/>\n7th October<\/strong>, 7pm<br class=\"\" \/>Archaeological Park of Pompeii, Palestra Grande<strong class=\"\"><br class=\"\" \/><\/strong><strong>Introduces Giulia Colletti, with words by Andrea Viliani<\/strong><\/p>\n<p class=\"\"><b class=\"\">A selection of filmic works and moving images<\/b>\u00a0by contemporary artists from Ukraine, conceived by Castello di Rivoli Museo d&#8217;Arte Contemporanea, Rivoli-Torino and presented in collaboration with the Archaeological Park of Pompeii, as part of\u00a0<i class=\"\">Pompeii Commitment.<\/i><\/p>\n<p class=\"\">The programme \u201cA Letter from the Front\u201d has been originally commissioned and produced by Castello di Rivoli Museo d&#8217;Arte Contemporanea Rivoli-Torino (member of AMACI-Associazione Musei d\u2019Arte Contemporanea Italiani), following the invasion of Ukraine in February 2022. The programme is\u00a0curated by\u00a0NIKITA KADAN (Kiev, 1982; lives and works in Kiev) with GIULIA COLLETTI (Curator of Digital and Public Programs at Castello di Rivoli Museo d&#8217;Arte Contemporanea). The screening event will also appear online from 8-15 October 2022 &#8211; on\u00a0<a class=\"\" href=\"http:\/\/pompeiicommitment.org\/\" target=\"_blank\" rel=\"noopener noreferrer\">pompeiicommitment.org<\/a>\u00a0and\u00a0<a class=\"\" href=\"http:\/\/pompeiisites.org\/\" target=\"_blank\" rel=\"noopener noreferrer\">pompeiisites.org<\/a>.<\/p>\n<hr \/>\n<h3 class=\"\">The screening at Pompeii is introduced by a recorded conversation between Nikita Kadan and Giulia Colletti, here available in its entirety<\/h3>\n<h3><\/h3>\n<p><iframe loading=\"lazy\" title=\"A Letter from the Front. A Conversation with Nikita Kadan\" src=\"https:\/\/player.vimeo.com\/video\/755558093?h=fe91d7ffe0&amp;title=0&amp;byline=0&amp;portrait=0&amp;badge=0&amp;dnt=1&amp;app_id=122963\" width=\"1200\" height=\"675\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<hr \/>\n<h3>Full Programme<\/h3>\n<p><b>Yaroslav Futymsky<\/b>, <i>Flag is burning<\/i>, 2019<br \/>\ncolor, sound, 1:51 min. Courtesy\u00a0the Artist<\/p>\n<div id=\"attachment_8348\" style=\"width: 2570px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8348\" class=\"size-full wp-image-8348\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-Ukraina.jpg\" alt=\"\" width=\"2560\" height=\"1426\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-Ukraina.jpg 2560w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-Ukraina-300x167.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-Ukraina-1024x570.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-Ukraina-768x428.jpg 768w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-Ukraina-1536x856.jpg 1536w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-Ukraina-2048x1141.jpg 2048w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-Ukraina-1920x1070.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><p id=\"caption-attachment-8348\" class=\"wp-caption-text\">Yaroslav Futymsky, Flag is burning, 2019, color, sound, 1:51 min.<br \/>Courtesy the artist<\/p><\/div>\n<hr \/>\n<p><b>Yaroslav Futymsky<\/b>, <i>Second attempt<\/i>, 2019<br \/>\ncolor, sound, 3:28 min. Courtesy\u00a0the Artist<\/p>\n<p>The videoperformances of Yaroslav Futymsky are often related to the traces of political history hidden in the landscape. At the same time, they take the shape of political manifestations in a postpolitical world: summoning the ghosts of past and present revolutions.<\/p>\n<div id=\"attachment_8484\" style=\"width: 2570px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8484\" class=\"size-full wp-image-8484\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yaroslav-Futymsky-Second-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1360\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yaroslav-Futymsky-Second-scaled.jpg 2560w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yaroslav-Futymsky-Second-300x159.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yaroslav-Futymsky-Second-1024x544.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yaroslav-Futymsky-Second-768x408.jpg 768w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yaroslav-Futymsky-Second-1536x816.jpg 1536w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yaroslav-Futymsky-Second-2048x1088.jpg 2048w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yaroslav-Futymsky-Second-1920x1020.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><p id=\"caption-attachment-8484\" class=\"wp-caption-text\">Yaroslav Futymsky, Second attempt, 2019, color, sound, 3:28 min.<br \/>Courtesy the artist<\/p><\/div>\n<hr \/>\n<p><b>Katya Libkind, <\/b><i>Where are Your Big Ears Dear Dead Grandma?<\/i>, 2021<br \/>\ncolor, sound, 6:44 min. Courtesy\u00a0the Artist<\/p>\n<p>Libkind\u2019s grandmother died at the age of 86 in Israel, choking on plain water. Reconstruct a nonexistent conversation on her birthday, the artist pays homage to her ancestor.<\/p>\n<div id=\"attachment_8486\" style=\"width: 2570px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8486\" class=\"size-full wp-image-8486\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Katya-Libkind-Where-are-Your-Big-Ears-Dear-Dead-Grandma-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1359\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Katya-Libkind-Where-are-Your-Big-Ears-Dear-Dead-Grandma-scaled.jpg 2560w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Katya-Libkind-Where-are-Your-Big-Ears-Dear-Dead-Grandma-300x159.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Katya-Libkind-Where-are-Your-Big-Ears-Dear-Dead-Grandma-1024x544.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Katya-Libkind-Where-are-Your-Big-Ears-Dear-Dead-Grandma-768x408.jpg 768w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Katya-Libkind-Where-are-Your-Big-Ears-Dear-Dead-Grandma-1536x816.jpg 1536w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Katya-Libkind-Where-are-Your-Big-Ears-Dear-Dead-Grandma-2048x1087.jpg 2048w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Katya-Libkind-Where-are-Your-Big-Ears-Dear-Dead-Grandma-1920x1020.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><p id=\"caption-attachment-8486\" class=\"wp-caption-text\">Katya Libkind, Where are Your Big Ears Dear Dead Grandma?, 2021, color, sound, 6:44 min.<br \/>Courtesy the artist<\/p><\/div>\n<hr \/>\n<p><b>AntiGonna<\/b>, <i>Enter the War <\/i>, 2017<br \/>\ncolor, sound, 3:57 min. Courtesy\u00a0the Artist<\/p>\n<p>War lives deep under the Earth. People themselves let it in. The war asks to enter.<\/p>\n<div id=\"attachment_8488\" style=\"width: 1290px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8488\" class=\"size-full wp-image-8488\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/AntiGonna-enter.jpg\" alt=\"\" width=\"1280\" height=\"800\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/AntiGonna-enter.jpg 1280w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/AntiGonna-enter-300x188.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/AntiGonna-enter-1024x640.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/AntiGonna-enter-768x480.jpg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\" \/><p id=\"caption-attachment-8488\" class=\"wp-caption-text\">AntiGonna, Enter the War, 2017, color, sound, 3:57 min.<br \/>Courtesy the artist<\/p><\/div>\n<hr \/>\n<p><b>AntiGonna<\/b>, <i>Rave on the bones <\/i>, 2017<br \/>\ncolor, sound, 6:59 min. Courtesy\u00a0the Artist<\/p>\n<p>At the same time, when the war continues in Ukraine till today, also the raves continue. Raves on the bones.<\/p>\n<div id=\"attachment_8490\" style=\"width: 1290px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8490\" class=\"size-full wp-image-8490\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/AntiGonna-Rave-on-the-bones.jpg\" alt=\"\" width=\"1280\" height=\"800\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/AntiGonna-Rave-on-the-bones.jpg 1280w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/AntiGonna-Rave-on-the-bones-300x188.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/AntiGonna-Rave-on-the-bones-1024x640.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/AntiGonna-Rave-on-the-bones-768x480.jpg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\" \/><p id=\"caption-attachment-8490\" class=\"wp-caption-text\">AntiGonna, Rave on the bones, 2017, color, sound, 6:59 min.<br \/>Courtesy the artist<\/p><\/div>\n<hr \/>\n<p><b>AntiGonna<\/b> (in collaboration with <strong>Nikita Kadan<\/strong>), <i>Lucid Skin<\/i>, 2019<br \/>\ncolor, sound, 16:16 min. Courtesy\u00a0the Artists<\/p>\n<p>The protagonist is an artist who rethinks his identity. He is into self-harm as a way to punish his \u2018masculinity\u2019.<\/p>\n<div id=\"attachment_8346\" style=\"width: 1290px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8346\" class=\"size-full wp-image-8346\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-ukraina_.jpg\" alt=\"\" width=\"1280\" height=\"550\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-ukraina_.jpg 1280w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-ukraina_-300x129.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-ukraina_-1024x440.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-ukraina_-768x330.jpg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\" \/><p id=\"caption-attachment-8346\" class=\"wp-caption-text\">AntiGonna (in collaboration with Nikita Kadan), Lucid Skin, 2019, color, sound, 16:16 min.<br \/>Courtesy the artist<\/p><\/div>\n<hr \/>\n<p><b>Yarema Malashchuk &amp; Roman Himey<\/b>, <i>Dedicated to the Youth of the World II<\/i>, 2019<br \/>\nHD video, color, sound, 9 min.\u00a0Courtesy the Artists<\/p>\n<p>The focus of the film is the techno rave Cxema and the youth, on which the camera is carefully focused the next morning after the event. This is the place and meeting that the youth of Kyiv are waiting for and preparing for \u2014 this particular escape from everyday life, rejection of it \u2014 evokes strange feelings of modern ritual.<\/p>\n<div id=\"attachment_8493\" style=\"width: 2570px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8493\" class=\"size-full wp-image-8493\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yarema-Malashchuk-Roman-Himey-Dedicated-to-the-Youth-of-the-World-II-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1321\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yarema-Malashchuk-Roman-Himey-Dedicated-to-the-Youth-of-the-World-II-scaled.jpg 2560w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yarema-Malashchuk-Roman-Himey-Dedicated-to-the-Youth-of-the-World-II-300x155.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yarema-Malashchuk-Roman-Himey-Dedicated-to-the-Youth-of-the-World-II-1024x528.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yarema-Malashchuk-Roman-Himey-Dedicated-to-the-Youth-of-the-World-II-768x396.jpg 768w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yarema-Malashchuk-Roman-Himey-Dedicated-to-the-Youth-of-the-World-II-1536x793.jpg 1536w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yarema-Malashchuk-Roman-Himey-Dedicated-to-the-Youth-of-the-World-II-2048x1057.jpg 2048w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Yarema-Malashchuk-Roman-Himey-Dedicated-to-the-Youth-of-the-World-II-1920x991.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><p id=\"caption-attachment-8493\" class=\"wp-caption-text\">Yarema Malashchuk &amp; Roman Himey, Dedicated to the Youth of the World II, 2019, HD video, color, sound, 9 min.<br \/>Courtesy the artists<\/p><\/div>\n<hr \/>\n<p><b>R.E.P.<\/b>, <i>Yodler<\/i>, 2011<br \/>\ncolor, sound, 17:59 min.\u00a0Courtesy the Artists<\/p>\n<p><i>Yodler<\/i> is part of a series of videos documenting site-specific performances that the R.E.P. group has produced in diverse, peripheral contexts, according to local folk traditions and current cultural situations. Each time, the actor-performed piece borrows its title from the language in which it is realized, carrying the tradition of itinerant folk musicians, in this case from Austria, who write and perform religious, historical, and epic songs.<\/p>\n<div id=\"attachment_8495\" style=\"width: 2570px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8495\" class=\"size-full wp-image-8495\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Yodler-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1424\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Yodler-scaled.jpg 2560w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Yodler-300x167.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Yodler-1024x570.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Yodler-768x427.jpg 768w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Yodler-1536x854.jpg 1536w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Yodler-2048x1139.jpg 2048w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Yodler-1920x1068.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><p id=\"caption-attachment-8495\" class=\"wp-caption-text\">R.E.P., Yodler, 2011, color, sound, 17:59 min.<br \/>Courtesy the artists<\/p><\/div>\n<hr \/>\n<p><b>R.E.P.<\/b>, <i>Smuggling <\/i>, 2007<br \/>\ncolor, sound, 10 min. Courtesy\u00a0the Artists<\/p>\n<p>The documentary reality of those who cross the border daily, those traveling to a slightly better-off country in hopes of selling a carton of cigarettes or a bottle of vodka for meager profit, in some miraculous way both does and does not correspond to the actions of the artists traveling with them.<\/p>\n<div id=\"attachment_8499\" style=\"width: 1528px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8499\" class=\"size-full wp-image-8499\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Smuggling.jpg\" alt=\"\" width=\"1518\" height=\"1132\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Smuggling.jpg 1518w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Smuggling-300x224.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Smuggling-1024x764.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Smuggling-768x573.jpg 768w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/R.E.P.-Smuggling-1448x1080.jpg 1448w\" sizes=\"auto, (max-width: 1518px) 100vw, 1518px\" \/><p id=\"caption-attachment-8499\" class=\"wp-caption-text\">R.E.P., Smuggling, 2007, color, sound, 10 min.<br \/>Courtesy the artists<\/p><\/div>\n<hr \/>\n<p><b>Nikolay Karabinovych<\/b>, <i>As far as Possible<\/i>, 2020<br \/>\n<i>b&amp;w, sound<\/i>, 6:23 min. Courtesy\u00a0the Artist<\/p>\n<p>A tour group traveling by bus through the Kuyalnitsky estuary on the outskirts of Odessa, whose caves Jewish residents, including the artist\u2019s great-grandmother, took refuge in during the outset of World War II.<\/p>\n<div id=\"attachment_8497\" style=\"width: 2516px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8497\" class=\"size-full wp-image-8497\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikolay-Karabinovych-As-far-as-Possible.jpg\" alt=\"\" width=\"2506\" height=\"1394\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikolay-Karabinovych-As-far-as-Possible.jpg 2506w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikolay-Karabinovych-As-far-as-Possible-300x167.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikolay-Karabinovych-As-far-as-Possible-1024x570.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikolay-Karabinovych-As-far-as-Possible-768x427.jpg 768w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikolay-Karabinovych-As-far-as-Possible-1536x854.jpg 1536w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikolay-Karabinovych-As-far-as-Possible-2048x1139.jpg 2048w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikolay-Karabinovych-As-far-as-Possible-1920x1068.jpg 1920w\" sizes=\"auto, (max-width: 2506px) 100vw, 2506px\" \/><p id=\"caption-attachment-8497\" class=\"wp-caption-text\">Nikolay Karabinovych, As far as Possible, 2020, b&amp;w, sound, 6:23 min.<br \/>Courtesy the artist<\/p><\/div>\n<hr \/>\n<p><b>Dana Kavelina<\/b>, <i>There are no Monuments to Monuments <\/i>, 2021<br \/>\ncolor, sound, 34:35 min. Courtesy\u00a0the Artist<\/p>\n<p>People are talking about a certain monument that was presumably erected to memorize the Catastrophe, but their speech falls apart, and we cannot compose a single image of either the monument or the catastrophe that happened to these people.<\/p>\n<div id=\"attachment_8501\" style=\"width: 2570px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8501\" class=\"size-full wp-image-8501\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Dana-Kavelina-There-are-no-Monuments-to-Monuments-scaled.jpg\" alt=\"\" width=\"2560\" height=\"957\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Dana-Kavelina-There-are-no-Monuments-to-Monuments-scaled.jpg 2560w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Dana-Kavelina-There-are-no-Monuments-to-Monuments-300x112.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Dana-Kavelina-There-are-no-Monuments-to-Monuments-1024x383.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Dana-Kavelina-There-are-no-Monuments-to-Monuments-768x287.jpg 768w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Dana-Kavelina-There-are-no-Monuments-to-Monuments-1536x574.jpg 1536w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Dana-Kavelina-There-are-no-Monuments-to-Monuments-2048x766.jpg 2048w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Dana-Kavelina-There-are-no-Monuments-to-Monuments-1920x718.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><p id=\"caption-attachment-8501\" class=\"wp-caption-text\">Dana Kavelina, There are no Monuments to Monuments, 2021, color, sound, 34:35 min.<br \/>Courtesy the artist<\/p><\/div>\n<hr \/>\n<p><b>Daniil Revkovsky &amp; Andriy Rachinsky,\u00a0<\/b><i>Labor Safety in the Region of Dnipropetrovsk<\/i>, 2018<br \/>\ncolor, sound, 22:13 min. Courtesy the Artists<\/p>\n<p>Found footage from various industrial sites at the Dnipropetrovsk region are assembled into a seemingly neutral way, without specific montage. A landscape of ruined but still working industries, a landscape of exhausted nature and work. The events taking place are both mundane and catastrophic \u2013 they are part of the working routine and they are also manifesting the state of collapse.<\/p>\n<div id=\"attachment_8503\" style=\"width: 2570px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8503\" class=\"size-full wp-image-8503\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Daniil-Revkovsky-Andriy-Rachinsky-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1445\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Daniil-Revkovsky-Andriy-Rachinsky-scaled.jpg 2560w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Daniil-Revkovsky-Andriy-Rachinsky-300x169.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Daniil-Revkovsky-Andriy-Rachinsky-1024x578.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Daniil-Revkovsky-Andriy-Rachinsky-768x433.jpg 768w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Daniil-Revkovsky-Andriy-Rachinsky-1536x867.jpg 1536w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Daniil-Revkovsky-Andriy-Rachinsky-2048x1156.jpg 2048w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Daniil-Revkovsky-Andriy-Rachinsky-1913x1080.jpg 1913w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><p id=\"caption-attachment-8503\" class=\"wp-caption-text\">Daniil Revkovsky &amp; Andriy Rachinsky, Labor Safety in the Region of Dnipropetrovsk, 2018, color, sound, 22:13 min.<br \/>Courtesy the artists<\/p><\/div>\n<hr \/>\n<p><b>Oleksiy Sai<\/b>, <i>The longest, the most productive &#8211; Deep cleansing power<\/i>, 2021<br \/>\ncolor, sound, 3:29 min.\u00a0Courtesy the Artists<\/p>\n<p>Artists Oleksiy Sai makes his living as director of commercials. Hi video work is using fragments of this commercials with repeating slogans \u201cThe longest and the most productive\u201d and \u201cDeep cleansing power\u201d. As one of his colleagues said \u2013 \u2018Our hell will look like this\u2019.<\/p>\n<div id=\"attachment_8506\" style=\"width: 2462px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8506\" class=\"size-full wp-image-8506\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Oleksiy-Sai-The-longest-the-most-productive-Deep-cleansing-power.jpg\" alt=\"\" width=\"2452\" height=\"1384\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Oleksiy-Sai-The-longest-the-most-productive-Deep-cleansing-power.jpg 2452w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Oleksiy-Sai-The-longest-the-most-productive-Deep-cleansing-power-300x169.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Oleksiy-Sai-The-longest-the-most-productive-Deep-cleansing-power-1024x578.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Oleksiy-Sai-The-longest-the-most-productive-Deep-cleansing-power-768x433.jpg 768w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Oleksiy-Sai-The-longest-the-most-productive-Deep-cleansing-power-1536x867.jpg 1536w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Oleksiy-Sai-The-longest-the-most-productive-Deep-cleansing-power-2048x1156.jpg 2048w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Oleksiy-Sai-The-longest-the-most-productive-Deep-cleansing-power-1913x1080.jpg 1913w\" sizes=\"auto, (max-width: 2452px) 100vw, 2452px\" \/><p id=\"caption-attachment-8506\" class=\"wp-caption-text\">Oleksiy Sai, The longest, the most productive &#8211; Deep cleansing power, 2021, color, sound, 3:29 min.<br \/>Courtesy the artists<\/p><\/div>\n<hr \/>\n<p><b>Alina Kleytman<\/b>, <i>Responsibility <\/i>, 2017<br \/>\ncolor, sound, 6:24 min. Courtesy\u00a0the Artist<\/p>\n<p>A girl wearing a ridiculous masquerade meant to show how people wear the other people&#8217;s expectations about them like dresses.<\/p>\n<div id=\"attachment_8508\" style=\"width: 2570px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8508\" class=\"size-full wp-image-8508\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/14-Alina-Kleytman-Responsibility-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1385\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/14-Alina-Kleytman-Responsibility-scaled.jpg 2560w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/14-Alina-Kleytman-Responsibility-300x162.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/14-Alina-Kleytman-Responsibility-1024x554.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/14-Alina-Kleytman-Responsibility-768x416.jpg 768w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/14-Alina-Kleytman-Responsibility-1536x831.jpg 1536w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/14-Alina-Kleytman-Responsibility-2048x1108.jpg 2048w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/14-Alina-Kleytman-Responsibility-1920x1039.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><p id=\"caption-attachment-8508\" class=\"wp-caption-text\">Alina Kleytman, Responsibility, 2017, color, sound, 6:24 min.<br \/>Courtesy the artist<\/p><\/div>\n<hr \/>\n<p><b>Lada Nakonechna<\/b>, <i>Switch on Red <\/i>, 2016<br \/>\ncolor, sound, 3:02 min. Courtesy\u00a0the Artist, Galerie EIGEN + ART Leipzig\/Berlin<\/p>\n<p>I propose that we try to place ourselves inside the Catastrophe and to think about finding ways of how we can speak about it from the position of being within. Catastrophe could be something very personal, but on the other hand it is not only about the single person, because the person is not alone, in this situation or in this war. It is also a catastrophe of relations and of the social sphere, which influences politics, general attitudes and our relationships.\u201d<\/p>\n<div id=\"attachment_8510\" style=\"width: 2570px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8510\" class=\"size-full wp-image-8510\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/15-Lada-Nakonechna-Switch-on-Red-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1430\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/15-Lada-Nakonechna-Switch-on-Red-scaled.jpg 2560w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/15-Lada-Nakonechna-Switch-on-Red-300x168.jpg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/15-Lada-Nakonechna-Switch-on-Red-1024x572.jpg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/15-Lada-Nakonechna-Switch-on-Red-768x429.jpg 768w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/15-Lada-Nakonechna-Switch-on-Red-1536x858.jpg 1536w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/15-Lada-Nakonechna-Switch-on-Red-2048x1144.jpg 2048w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/15-Lada-Nakonechna-Switch-on-Red-1920x1072.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><p id=\"caption-attachment-8510\" class=\"wp-caption-text\">Lada Nakonechna, Switch on Red, 2016, color, sound, 3:02 min.<br \/>Courtesy the artist, Galerie EIGEN + ART Leipzig\/Berlin<\/p><\/div>\n<hr \/>\n<p><b>Yuri Leiderman<\/b>, <i>Birmingham Ornament<\/i>, 2010<br \/>\ncolor, sound, 1:07 min. Courtesy\u00a0the Artist<\/p>\n<p>The film mixes innovative forms of poetry, music, and theatre with existing traditions in attempt to overcome their boundaries. Film is made into some kind of an ornament, in which lines divided into fragments and intertwining with each other, form an integral poetic statement.<\/p>\n<div id=\"attachment_8512\" style=\"width: 650px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8512\" class=\"size-full wp-image-8512\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/16-Yuri-Leiderman-Birmingham-Ornament.jpg\" alt=\"\" width=\"640\" height=\"360\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/16-Yuri-Leiderman-Birmingham-Ornament.jpg 640w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/16-Yuri-Leiderman-Birmingham-Ornament-300x169.jpg 300w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><p id=\"caption-attachment-8512\" class=\"wp-caption-text\">Yuri Leiderman (in collaboration with Andrey Silvestrov), Birmingham Ornament, 2011, color, sound, 65 min.<\/p><\/div>\n<hr \/>\n<p><b>Lesia Khomenk\u043e<\/b>, <i>Self-portrait <\/i>, 2013<br \/>\ncolor, sound, 7:33 min. Courtesy\u00a0the Artist<\/p>\n<p>The stop-motion animation is based on a painted self-portrait. While painting her face, the artist kept changing the eyes: initially open and staring insolently at the viewer, they gradually drooped shut with sleep. Having collected 1,500 shots for the video, she painted the completed self-portrait over with white paint, transforming the canvas into a screen for the video projection. The work was inspired by exhausting attempts to put her young daughter to bed: they both pretended to fall asleep while peeking at one another. This temporal processuality steeped in personal experience is transposed onto the processuality of an artistic medium: the painting loses its traditional material medium, leaving nothing but memories of itself.<\/p>\n<div id=\"attachment_8515\" style=\"width: 1510px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8515\" class=\"size-full wp-image-8515\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/17-Lesia-Khomenk\u043e-Self-portrait.jpeg\" alt=\"\" width=\"1500\" height=\"1060\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/17-Lesia-Khomenk\u043e-Self-portrait.jpeg 1500w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/17-Lesia-Khomenk\u043e-Self-portrait-300x212.jpeg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/17-Lesia-Khomenk\u043e-Self-portrait-1024x724.jpeg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/17-Lesia-Khomenk\u043e-Self-portrait-768x543.jpeg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" \/><p id=\"caption-attachment-8515\" class=\"wp-caption-text\">Lesia Khomenk\u043e, Self-portrait, 2013, 7:33 min.<\/p><\/div>\n<hr \/>\n<p><b>Mykola Ridnyi<\/b>, <i>NO! NO! NO!<\/i>, 2017<br \/>\nHD video color, sound, 22 min. Courtesy\u00a0the Artist<\/p>\n<p>The main heroes of the film are the young people from Kharkiv, a city located in the Eastern part of Ukraine. Reaching their early twenties coincided with the breakout of the war in the neighbouring region of Donbass. An LGBT activist and poet, a fashion model, a group of street artists, a creator of a computer game \u2013 all of them are artists or working in the creative industries, typical for a peaceful life of a big city. However, the proximity to the war affects each of the characters and their activities. Heroes react and reflect political events through their specific relationships with the urban space and the reality of the social media.<\/p>\n<div id=\"attachment_8517\" style=\"width: 1510px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8517\" class=\"size-full wp-image-8517\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/18-Mykola-Ridny.jpeg\" alt=\"\" width=\"1500\" height=\"805\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/18-Mykola-Ridny.jpeg 1500w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/18-Mykola-Ridny-300x161.jpeg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/18-Mykola-Ridny-1024x550.jpeg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/18-Mykola-Ridny-768x412.jpeg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" \/><p id=\"caption-attachment-8517\" class=\"wp-caption-text\">Mykola Ridny, NO! NO! NO!, 2017 HD video, 22 min.<\/p><\/div>\n<hr \/>\n<p><b>Mykola Ridnyi<\/b>, <i>Regular Places<\/i>, 2014 &#8211; 2015<br \/>\nHD video color, sound, 15:23 min. Courtesy\u00a0the Artist<\/p>\n<p>Comings and goings of citizens in five public sites around Kharkiv are filmed from a static angle. Without a sense of context, the uneventful footage seems irreconcilable with the brutally violent conflict between pro-Ukrainian and pro-Russian activists that occurred here only months earlier. Rupturing the calm atmosphere, audio excerpts extracted from online videos have been overlaid on top of the footage; shouts of threats, warnings, abuse and intimidation echo across indifferent scenes, in a forced confrontation between recent traumatic memories and a present state of collective denial.<\/p>\n<div id=\"attachment_8519\" style=\"width: 1376px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-8519\" class=\"size-full wp-image-8519\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/19-Mykola-Ridny-Regular-Places.jpeg\" alt=\"\" width=\"1366\" height=\"759\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/19-Mykola-Ridny-Regular-Places.jpeg 1366w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/19-Mykola-Ridny-Regular-Places-300x167.jpeg 300w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/19-Mykola-Ridny-Regular-Places-1024x569.jpeg 1024w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/19-Mykola-Ridny-Regular-Places-768x427.jpeg 768w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\" \/><p id=\"caption-attachment-8519\" class=\"wp-caption-text\">Mykola Ridny, Regular Places, 2014 &#8211; 2015, HD video, 15:23 min.<\/p><\/div>\n<p>&nbsp;<\/p>\n<hr \/>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-8357\" src=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/castello_rivoli_pompeii.jpg\" alt=\"\" width=\"407\" height=\"175\" srcset=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/castello_rivoli_pompeii.jpg 407w, https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/castello_rivoli_pompeii-300x129.jpg 300w\" sizes=\"auto, (max-width: 407px) 100vw, 407px\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p><strong>NIKITA KADAN\u00a0with\u00a0GIULIA COLLETTI<br \/>\n7th October, 7pm \u2014 Archaeological Park of Pompeii, Palestra Grande<br \/>\nIntroduces Giulia Colletti, with words by Andrea Viliani<\/strong><\/p>\n<p>A selection of filmic works and moving images\u00a0by contemporary artists from Ukraine, conceived by Castello di Rivoli Museo d&#8217;Arte Contemporanea, Rivoli-Torino and presented in collaboration with the Archaeological Park of Pompeii, as part of\u00a0Pompeii Commitment.<\/p>\n","protected":false},"author":3,"featured_media":8348,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-8380","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Pompei for Ukraine. A Letter from the Front - Pompeii Commitment<\/title>\n<meta name=\"robots\" content=\"noindex, follow\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pompei for Ukraine. A Letter from the Front - Pompeii Commitment\" \/>\n<meta property=\"og:description\" content=\"NIKITA KADAN\u00a0with\u00a0GIULIA COLLETTI 7th October, 7pm \u2014 Archaeological Park of Pompeii, Palestra Grande Introduces Giulia Colletti, with words by Andrea Viliani A selection of filmic works and moving images\u00a0by contemporary artists from Ukraine, conceived by Castello di Rivoli Museo d&#039;Arte Contemporanea, Rivoli-Torino and presented in collaboration with the Archaeological Park of Pompeii, as part of\u00a0Pompeii Commitment.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/pompeiicommitment.org\/en\/agenda\/pompei-per-lucraina-una-lettera-dal-fronte\/\" \/>\n<meta property=\"og:site_name\" content=\"Pompeii Commitment\" \/>\n<meta property=\"article:published_time\" content=\"2022-10-08T07:40:34+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-10-19T10:03:18+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/pompeiicommitment.org\/site\/wp-content\/uploads\/2022\/10\/Nikita-Kadan-Ukraina.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1426\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Marco Formosa\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/pompeiicommitment.org\/en\/agenda\/pompei-per-lucraina-una-lettera-dal-fronte\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/pompeiicommitment.org\/en\/agenda\/pompei-per-lucraina-una-lettera-dal-fronte\/\"},\"author\":{\"name\":\"Marco Formosa\",\"@id\":\"https:\/\/pompeiicommitment.org\/en\/#\/schema\/person\/d229b0173a9c1c68adefafd8cc771fc7\"},\"headline\":\"Pompei for Ukraine. 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