{"id":13795,"date":"2024-12-11T16:55:40","date_gmt":"2024-12-11T15:55:40","guid":{"rendered":"https:\/\/magazzinodelleidee.it\/?page_id=13795"},"modified":"2024-12-12T18:18:48","modified_gmt":"2024-12-12T17:18:48","slug":"fotografia-wulz-exhibition-text","status":"publish","type":"page","link":"https:\/\/magazzinodelleidee.it\/en\/fotografia-wulz-exhibition-text\/","title":{"rendered":"Fotografia Wulz -Exhibition text"},"content":{"rendered":"\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

TIME LINE<\/h2>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

1843 \u2014 March 18, Giuseppe Wulz was born in Raibl-Cave del Predil-Rabelj, Tarvisio, Italy.
1855 \u2014Arrives in Trieste with his mother Clara
1865 \u2014 He is apprenticed in the studio of the German photographer Frederich Wilhelm Engel
1868 \u2014He associates with Luigi Boccalini, with whom he opens the Studio \u2018Allievi di Engel\u2019 at Piazza della Borsa 10
1872 \u2014He marries Anna Saj\u00e81874 \u2014Carlo Wulz is born
1875 \u2014 Giuseppe Wulz opens his own studio on Corso 9
1891 \u2014Moves to Corso 19 Wanda Wulz is born
1903 \u2014Wanda Wulz is born
1904 \u2014 Carlo Wulz runs the firm
1905 \u2014Maria Antonia called Marion is born
1912 \u2014The transition from Giuseppe\u2019s management to that of Carlo Wulz is formalized
1918 \u2014 Giuseppe Wulz dies
1927 \u2014 Carlo participates in exhibitions and national and international salons
1928 \u2014Carlo Wulz dies, and daughters Wanda and Marion take over management of the Studio
1930 \u2014November 9-30 Wanda Wulz participates in the First National Photographic Competition held in Rome at the Orangery of the Villa Borghese
193 1 \u2014 April 12-27 Wanda Wulz participates in the International Photographic Exhibition organized for the Exposition at the Milan Fair.
1932 \u2014 April 1-17 Wanda Wulz is invited to participate in the National Exhibition of Futurist Photography in Trieste
1932- April 1-17 Wanda Wulz is invited to participate in the National Exhibition of Futurist Photography in Trieste
1932 \u2013 December 18-31 Wanda Wulz exhibits at the International Biennial of Photographic Art in Rome
1958 \u2013 Sisters Wanda and Marion organize an exhibition to mark ninety years of the Wulz\u2019s activities
1981 \u2013 Studio Wulz closes and sisters Wanda and Marion organize with the City of Trieste, \u2018The Wulz. Three generations of photographers in Trieste from 1868 to 1981\u2019
1983- Wanda Wulz dies
1986- In Paris, as part of the Event. \u2018Trouver Trieste,\u2019 in the Eiffel Tower is the exhibition \u2018Visages, paysages. Photographies de Giuseppe, Carlo et Marion Wulz\u2019
1986
2007- The photographs and remaining documentation of the Wulz Photographic Studio become part of the holdings of the Fratelli Alinari Idea Spa following several acquisitions. Today the Alinari Archives holdings, which became public thanks the acquisition by the Region of Tuscany, is entrusted to the Alinari Foundation for Photography
1989 \u2013 The Municipality of Trieste, in collaboration with the Museum of the History of Photography and with the Alinari Archives, organizes the Exhibition \u2018The Trieste of the Wulz \u2013 Faces of a History. Photographs 1860 \u2013 1980\u2019
1993 \u2013 Marion Wulz dies<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

INTRODUCTION<\/h3>

Photography Wulz offers a more than century-long journey into the history of Trieste through the lens of a photographic atelier, retracing the stages that placed it at the center of the international scene in its economic, urban and architectural development. Since the second half of the 19th century, Giuseppe, Carlo, Wanda and Marion Wulz have continuously illustrated the social and cultural changes in the city with their photographs and life stories, with special attention to the world of women and through creativity and artistic experimentation. The journey begins by leafing through the photo album of a family that represents the history of Trieste.<\/p>

THE FAMILY ALBUM<\/h3>

Palazzo Hierschel, Corso 19 and then Corso Italia 9 in Trieste, hosted three generations of professional Italian photographers who also spent their existences there and intertwined bonds of art and life.
From 1891 to its closure in 1981, Giuseppe, Carlo, Wanda and Marion lived and worked in the rooms, spaces of the workshop, on the terrace and in the veranda penthouse of the palace overlooking the city of Trieste. Previously, starting in 1875, Giuseppe Wulz had had his studio, also on the Corso, \u2018opposite the Aquila Black Eagle\u2019 (as the advertising marks of the Wulz atelier read in the historic carte de visits produced to make themselves known). The Wulz\u2019s connection to Trieste is total, just as total is the bond they established with photographic practice, both the one d\u2019atelier as well as the one made to construct their private family album.
Photography Wulz is a tribute to their family album, between the city and the atelier.<\/p>

THE OUTCOMES<\/h3>

Giuseppe Wulz learns the craft as a photographer at the Engel studio, until a fire destroys it in 1868. Wulz partnered with Luigi Boccalini and brought with him to the new studio of Engel\u2019s \u2018pupils\u2019 some fifty \u2018carte de visite\u2019 that he later used as specimens. Samples of single portraits and groups, full-length or half-length, with the sitters sitting or standing, leaning against chairs, balustrades or furniture. In the adult groups there is a focus on hierarchies in positions, with compositions of male and female standing and sitting.<\/p>

POINT OF VIEW<\/h3>

When in 1874 Giuseppe Wulz decided at the age of thirty-one to take up the profession of photography independently and broke away from his partner and best man Luigi Boccalini, he is quite clear in the request he makes to the relevant authorities that he will \u2018practice the photographic industry especially the branch of landscapes.\u2019 From the beginning, in fact, he proposes to his potential clients urban views that, from above, photograph the development of the growing city in the last quarter of the nineteenth century.<\/p>

THE POPULARS<\/h3>

One of the first jobs Giuseppe Wulz decided to undertake after his separation from Boccalini has an ethnographic slant. Giuseppe has Servolan \u2018pagnigole\u2019 (bread sellers), girls and boys from Karst, come to his studio, dressed in traditional Slovenian clothes, which are also familiar to him because his wife Anna Saj\u00e8 is Slovenian. Wulz prints many carte de visite of \u2018commoners\u2019 because he assumes a possibility of selling them to tourists as well, as is the case in cities included in Grand Tour itineraries.<\/p>

MIRAMARE AND MUSEO REVOLTELLA<\/h3>

Joseph Wulz obtained permission on June 12, 1874, and sets his sights on an iconic place in the city, Miramar Castle, as it was called at the time, with its park. He is convinced that a good number of Triestines and outsiders can buy his photographs. At the same time he realizes, also thanks to good relations with Conservator Augusto Tominz, a photographic campaign within the Revoltella Museum, which had been inaugurated in 1872.<\/p>

THE TRIESTINE SOCIETY<\/h3>

In the early twentieth century, emerging social groups in Trieste felt the need for self-representation.<\/p>

They turned to the Wulz the associative realities of crafts, shopkeepers and of other professions, including women. Even the workers, in a city that is experiencing intense industrial development, are portrayed outside the factories or while at work.<\/p>

THE SHIPS<\/h3>

Steamships are systematically photographed by Joseph Wulz. By September 1885 he had photographed seventy-nine \u2018steamers\u2019 on behalf of Austrian Lloyd, which would celebrate its 50th anniversary the following year. Wulz was also called upon to photograph the various of the vessels and sometimes the crews as well.<\/p>

THE GYMNASTICS SOCIETY OF TRIESTE<\/h3>

The Trieste Gymnastics Society chooses the Wulz studio to celebrate its successes in local, national and international competitions, attested by the numerous medals on the chests of its uniformed athletes, and to provide a memento to its members and students. In the early twentieth century, the groups of marchers, gymnasts and gymnasts, who have also been in the Trieste sports world, are portrayed in the gymnasium, in front of the backdrop brought from the studio, or in the adjoining garden, with the flag in the center and master Aldo Boiti, who always wears a hat with a long pen.<\/p>

HORSES, ANTONIO WULZ\u2019S PASSION<\/h3>

Antonio combines his entrepreneurial skills with sporting ones. He owns several horses over time that excel at Montebello and also at other racetracks. \u2018Gamma\u2019, \u2018Arian\u2019, \u2018Styx\u2019, \u2018Cypresse\u2019, \u2018Agnes\u2019, \u2018Ada Watson\u2019 and \u2018Etus\u2019 populate between 1908 and 1909 the pages of the equestrian chronicles, always winning or placing in the top positions. It is he himself leading them on the sulky to the finish line at racetracks.<\/p>

CULTURE, ENTERTAINMENT AND ART<\/h3>

Carlo Wulz, having long since outgrown the techniques used in the period which is usually defined as \u2018pictorialist,\u2019 in the 1920s he elaborated a style entirely personal, very far from the conventionality of his early works, which were in continuity with those of his father Joseph.
Of great impact are, in particular, the portraits that Carlo devotes to the exponents who are part of the network of relationships built by the Wulz in the world of culture, entertainment and art.<\/p>

CARLO WULZ\u2019S EXHIBITIONS<\/h3>

Carlo Wulz wins in 1925 the Grand Prize Diploma at the \u2018First Exhibition of Photographic Art\u2019 in the Villa Reale Di Monza with a portrait Of the painter Edmondo (Eddy) Passauro. In 1926 and 1927 he participated in the \u2018Salon International d\u2019Art Photographique\u2019 in Paris with \u2018Spagnola\u2019 (Olga Reich) and with a portrait of the painter Rietti. Also in 1927, with another \u2018Spagnola\u2019 (his daughter Wanda) he was again in Monza. In the last period of his life he is present at the \u2018International Annual Exhibition\u2019 of the Royal Photographic Society of Great Britain and at the exhibitions of the Camera Clubs of New York and Chicago.<\/p>

MAY 1 TO JUNE 12, 1945<\/h3>

These are the days of the occupation of Trieste by the IX Corpus of the People\u2019s Liberation Army of Yugoslavia. Marion Wulz begins photographing May 1 from the terrace of the studio. Finally, on June 12, she photographs the event that, in the aftermath of the signing of an an international agreement, celebrates the arrival of Anglo-American troops replacing the Yugoslav army. Marion continues this activity on the occasion of events that pass through the Corso in the subsequent years.<\/p>

THE EPILOGUE<\/h3>

We are at the epilogue of a one hundred and fifty year long story. On August 3, 1993, Maria Antonia, better known as Marion Wulz, died. Photographer, but also custodian of a heritage that without her would have been dispersed and that, instead, today is available to all. We have chosen to offer you from her voice a few excerpts in which she recounts episodes from the history of her life and that of her family, associated with some photographs and a musical commentary. To remember her there is the portrait that her teacher, the painter Edmondo (Eddy) Passauro had made of her when she was a young girl and the two photographs by George Tatge that depict her, elderly, in the house in Corso Italia, no longer in its years of splendor, on the stairs and in front of the terrace of a now abandoned studio.<\/p>

FOCUS<\/h3>

\u2013 Joseph Wulz, mindful of the engraving by Nicolas Marie Josef Chapuy that illustrated the Barcola viaduct some 20 years earlier, within a volume on the Southern Railway, published by the literary-artistic section of the Austrian Lloyd, adopted the same point of view and framing.<\/p>

With his camera he also gives us the opportunity to discover the Squero San Bortolo.<\/p>

\u2013 The carte de visite, patented in Paris in 1854 by Eug\u00e8ne Disd\u00e9ri, supplanted the miniature and became a fashion throughout the world. It gives a wider public the opportunity to keep photographic portraits of small size (6\u00d79 centimeters), similar to business cards, glued on a card and obtained from a single negative on a glass plate from which multiple exposures were obtained, with a camera that could have from four to eight lenses. A democratization of portraiture which was previously the prerogative of the aristocracy and the wealthy bourgeoisie.<\/p>

\u2013 Joseph Wulz also uses stereoscopic photography, a pair of images that gives the impression of three-dimensionality when viewed with a device consisting of two eyepieces, such as the Brewster stereoscope, an instrument also found in many Trieste families<\/p>

\u2013 Those who go to be portrayed get on the photographer\u2019s stage and have a backdrop behind them, like an actor in the theater. Even in the Wulz studio there was one, and when Joseph or Charles went to away clients they often took a second, \u2018portable\u2019 one with them. The groups on the one hand proudly carry, as is tradition, their working tools but, on the other hand, accept the rules of composition proposed by the author who determines the positions and hierarchies of the subjects in the space.<\/p>

\u2013 There were a number of cycling groups in Trieste. Already his father Giuseppe had photographed in the 1980s, in his studio on Corso 9, a young man on a \u2018penny forthing\u2019 velocipede, secured with a taut wire to prevent falls disguised by a suitable retouching, now Carlo Wulz portrays in 1903 a group of cyclists with bicycles equipped with tires.<\/p>

\u2013 According to Robert Capa \u2018when your photographs are not good enough, you are not close enough\u2019. Marion Wulz, on May 2, 1945 must have thought the same thing when she took to the streets to photograph more closely those involved in the occupation of the city by the IX Corpus of the People\u2019s Liberation Army of Yugoslavia.<\/p>

WANDA AND MARION WULZ, PHOTOGRAPHERS AND SISTERS<\/h3>

Wanda and Marion were the last descendants of the Wulz family to devote themselves to photography: from 1928, with the death of their father Charles, they ran the Trieste atelier until its closure in 1981. In addition to the atelier and the profession of photography, the Wulz sisters also inherited a passion for a constant practice of family album portraiture that had already seen them, as children, protagonists of Carlo\u2019s lens. As they grew up, the two sisters began to collaborate more and more with their father in the realization of this mnemonic exercise that became collective and shared: in the portraits<\/p>

Wanda and Marion appear not only as passive models, but as involved and aware women. Left alone, the mutual portraits and self-portraits they made became forms of imaginary escapism and a way of expressing desires and needs for mutual identity mirroring.<\/p>

ANITA PITTONI AND THE WULZ<\/h3>

In 1928, the young Trieste designer friend of Wanda and Marion, Anita Pittoni, moved to live for a few years in the Wulz atelier.<\/p>

Thus began between the three women a season of artistic, human and professional collaboration that produced its best results during the 1930s. From that coterie of friends and artists, in fact, began an experimental and multidisciplinary activity, in which experiences in photography, art, music, dance, fashion and design were interwoven in an unprecedented way. The clothes designed by Pittoni were worn by herself and the Wulz sisters, during sessions in which they photographed each other, dancing and mixing languages and territories of creativity. From these photographic performances remain, in addition to the photographs, playbills and invitations in which they planned variety nights and shows in which they shared nonconformist and provocative ideas.<\/p>

DANCE BODY PERFORMANCE<\/h3>

In the 1920s and 1930s, the theme of body free body of women had a very wide resonance through the practice of dance and gymnastics. Among others, it was promoted by Valentine de Saint-Point, author of the Futurist Woman\u2019s Manifesto of 1912, and Giannina Censi, who also interpreted her aerodances at the National Exhibition of Futurist Photography in Trieste of 1932, and whose postures were published in 1933 in the famous essay on the Physical Culture of Women. Art and photography made, in fact, a decisive contribution to the demands for the liberation of women\u2019s bodies and gestures, favoring their visual concretization.<\/p>

The Wulz sisters reserved great attention for the bodies of ballerinas and dancers, whom they portrayed several times as the famous Olga Reich, and many were the images they dedicated to Etta Paulin and her School of Acrobatics, immortalizing women\u2019s bodies in gymnastic and athletic poses.<\/p>

MODERN WOMEN<\/h3>

Not only in private and album photos family albums, but also in the more strictly professional photographic activity of the Studio Wulz, sisters Wanda and Marion showed a predilection for female portraiture and a special ability to bring out the image of a modern woman, as emancipated and independent as, in fact, they themselves were. As modern women, Wanda and Marion Wulz used photography as a tool capable of conveying a \u2018political project\u2019 that, from an individual and private perspective, became the interpreter of shared historical and social needs.<\/p>

Extensive is the series of portraits of the charming and strong-willed Mrs. Bosutti, important the presences of women artists, poets, writers and actresses photographed, among them Leonor Fini, Paola Borboni, Pia Rimini, Ketty Daneo, up to Irene Camber, Olympic fencing champion in 1952.<\/p>

THE FUTURIST EXPERIENCE<\/h3>

Between April 1 and 17, 1932, Wanda Wulz was invited to participate, the only woman photographer included in the Italian movement, at the National Exhibition of Futurist Photography in Trieste. In the exhibition catalog she was listed as the author of six photographs: Futurist Breakfast, Portrait, Jazz-band, Me + Cat, Exercise, Wunder-Bar.<\/p>

And if the superimposition of two negatives in Io + cat is today a global icon, and for this Wanda a world-renowned artist, at a deeper look all six futurist experiments show that Wanda entered the groove of avant-garde research bringing with her absolutely personal and unprecedented instances and experiences. Wanda, but Marion\u2019s presence is constant and fundamental, seemed to want to provide a gendered perspective on the possibilities offered by the photographic medium, expanding them to a different point of view, to a different observation of the world.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

TIME LINE 1843 \u2014 March 18, Giuseppe Wulz was born in Raibl-Cave del Predil-Rabelj, Tarvisio, Italy.1855 \u2014Arrives in Trieste with his mother Clara1865 \u2014 He is apprenticed in the studio of the German photographer Frederich Wilhelm Engel1868 \u2014He associates with Luigi Boccalini, with whom he opens the Studio \u2018Allievi di Engel\u2019 at Piazza della Borsa […]<\/p>\n","protected":false},"author":5,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-13795","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nFotografia Wulz -Exhibition text - Magazzino delle idee<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fotografia Wulz -Exhibition text - Magazzino delle idee\" \/>\n<meta property=\"og:description\" content=\"TIME LINE 1843 \u2014 March 18, Giuseppe Wulz was born in Raibl-Cave del Predil-Rabelj, Tarvisio, Italy.1855 \u2014Arrives in Trieste with his mother Clara1865 \u2014 He is apprenticed in the studio of the German photographer Frederich Wilhelm Engel1868 \u2014He associates with Luigi Boccalini, with whom he opens the Studio \u2018Allievi di Engel\u2019 at Piazza della Borsa […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/\" \/>\n<meta property=\"og:site_name\" content=\"Magazzino delle idee\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/VillaManinEventi\" \/>\n<meta property=\"article:modified_time\" content=\"2024-12-12T17:18:48+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/\",\"url\":\"https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/\",\"name\":\"Fotografia Wulz -Exhibition text - Magazzino delle idee\",\"isPartOf\":{\"@id\":\"https:\/\/magazzinodelleidee.it\/#website\"},\"datePublished\":\"2024-12-11T15:55:40+00:00\",\"dateModified\":\"2024-12-12T17:18:48+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/magazzinodelleidee.it\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Fotografia Wulz -Exhibition text\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/magazzinodelleidee.it\/#website\",\"url\":\"https:\/\/magazzinodelleidee.it\/\",\"name\":\"Magazzino delle idee\",\"description\":\"Mostre - Eventi\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/magazzinodelleidee.it\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Fotografia Wulz -Exhibition text - Magazzino delle idee","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/","og_locale":"en_US","og_type":"article","og_title":"Fotografia Wulz -Exhibition text - Magazzino delle idee","og_description":"TIME LINE 1843 \u2014 March 18, Giuseppe Wulz was born in Raibl-Cave del Predil-Rabelj, Tarvisio, Italy.1855 \u2014Arrives in Trieste with his mother Clara1865 \u2014 He is apprenticed in the studio of the German photographer Frederich Wilhelm Engel1868 \u2014He associates with Luigi Boccalini, with whom he opens the Studio \u2018Allievi di Engel\u2019 at Piazza della Borsa […]","og_url":"https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/","og_site_name":"Magazzino delle idee","article_publisher":"https:\/\/www.facebook.com\/VillaManinEventi","article_modified_time":"2024-12-12T17:18:48+00:00","twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"13 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/","url":"https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/","name":"Fotografia Wulz -Exhibition text - Magazzino delle idee","isPartOf":{"@id":"https:\/\/magazzinodelleidee.it\/#website"},"datePublished":"2024-12-11T15:55:40+00:00","dateModified":"2024-12-12T17:18:48+00:00","breadcrumb":{"@id":"https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/magazzinodelleidee.it\/fotografia-wulz-english-text\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/magazzinodelleidee.it\/en\/"},{"@type":"ListItem","position":2,"name":"Fotografia Wulz -Exhibition text"}]},{"@type":"WebSite","@id":"https:\/\/magazzinodelleidee.it\/#website","url":"https:\/\/magazzinodelleidee.it\/","name":"Magazzino delle idee","description":"Mostre - Eventi","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/magazzinodelleidee.it\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/magazzinodelleidee.it\/en\/wp-json\/wp\/v2\/pages\/13795","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/magazzinodelleidee.it\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/magazzinodelleidee.it\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/magazzinodelleidee.it\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/magazzinodelleidee.it\/en\/wp-json\/wp\/v2\/comments?post=13795"}],"version-history":[{"count":7,"href":"https:\/\/magazzinodelleidee.it\/en\/wp-json\/wp\/v2\/pages\/13795\/revisions"}],"predecessor-version":[{"id":13824,"href":"https:\/\/magazzinodelleidee.it\/en\/wp-json\/wp\/v2\/pages\/13795\/revisions\/13824"}],"wp:attachment":[{"href":"https:\/\/magazzinodelleidee.it\/en\/wp-json\/wp\/v2\/media?parent=13795"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}