Photographs by Emanuele Satolli

THAT THING THAT NEVER VANISHED

curated by Giulia Tornari and Angelo Castucci
texts by Giulia Tornari, James Marson and Emanuele Satolli, display studioamatoriale, a project by Zona and Gramma Studio

Photographs by Emanuele Satolli

THAT THING THAT NEVER VANISHED

curated by Giulia Tornari and Angelo Castucci
texts by Giulia Tornari, James Marson and Emanuele Satolli, display studioamatoriale, a project by Zona and Gramma Studio

october – november 2025

OPENING
Thursday 9 october 2025 from 6:30 p.m.

OPENING HOURS
From 10 October to 8 November 2025
Thursdays to Saturdays from 3pm to 7pm

APPOINTMENTS
Friday, 31 October at 6.30 p.m.
Dealing with evil. A shared reflection between photography, journalism and philosophy on how we portray war and violence.

A decade of contemporary conflicts in the photographs of Emanuele Satolli.

Assab One hosts the exhibition That thing that never vanished, dedicated to the photographic work of Emanuele Satolli and accompanied by the book of the same name published by Gost Books.

The exhibition, created by Zona and Gramma Studio thanks to the contribution of Fondazione Cariplo and the support of Fondazione Carifac, in collaboration with Laboratorio Lapsus, Assab One and studioamatoriale, presents over ten years of photographic reportage from the main contemporary conflict and humanitarian crisis scenarios.
From Ukraine, followed since the first day of the Russian invasion, to Mosul and Raqqa during the battles against ISIS; from Gaza to Afghanistan, Satolli’s work focuses on individual experiences and the human condition exposed to the tragedy of war.

Alongside the exhibition and book, the project includes educational activities and workshops with schools, designed to engage students in critical reflection on
conflict and the role of photography.

“In an era dominated by the proliferation of digital images — including propaganda, misinformation and synthetic productions generated by artificial intelligence — Satolli’s work reaffirms the value of photography as a direct witness and guardian of memory,” writes Giulia Tornari, founder of Zona and Gramma Studio, curator of the exhibition. “His images document stories of people and places marked by war and are striking for their proximity to the subjects photographed, conveying the intimacy of experiences lived in extreme contexts, through a gaze that combines documentary rigour and ethical responsibility.”

In the words of James Marson, Ukraine Bureau Chief of The Wall Street Journal, in the text of That thing that never vanished: “War stirs the blood. Teeth clenched. Jaw tightened. Heart pounding. Is death around the corner? Is it your death, or someone else’s? The banality of everyday life vanishes. It is here, on the border between life and death, that one truly lives. Everything matters, because there is no higher stakes. How did we get here? Thousands of years have passed, but the aims of war remain unchanged: to defend a homeland, a people, a resource or – to conquer someone else’s. Even what drives someone to war remains the same: money, pride, loyalty, ambition.

Emanuele Satolli is a photojournalist who, over the last ten years, has dedicated himself to photographically documenting conflicts and humanitarian crises. He began reporting on the war in Ukraine from the first day of the Russian invasion and continues to return to the country today, with the aim of investigating the consequences of the conflict on the civilian population. He was in Mosul when the Iraqi army launched a long and bloody operation to liberate the city from ISIS control. He photographed the fall of the Islamic State in Raqqa, considered the Syrian stronghold of the terrorist group.
In Gaza, he covered the violent protests that erupted following the transfer of the American embassy from Tel Aviv to Jerusalem.
He witnessed the conflict in Libya and the conditions of migrants in detention centres. He travelled to Afghanistan several times, both with American troops
and alone, to areas controlled by the Taliban before the country returned to their full control.

His reports have been published in leading Italian and international magazines and newspapers, with ongoing collaborations in particular with TIME Magazine and The Wall Street Journal. In the course of his work, he has collaborated with international journalists and editors and has met people who, through no fault of their own, have found themselves experiencing war, recounting their individual destinies.

A PROJECT BY
ZONA, Gramma Studio

IN COLLABORATION WITH
Lapsus, Assab One, studioamatoriale

WITH THE SUPPORT OF
Fondazione Cariplo

SUPPORTED BY
Fondazione Carifac

TECHNICAL PARTNER
Fabriano

BOOK
GOST Books

Text by Giulia Tornari

The exhibition and accompanying book That Thing That Never Vanished present, for the first time, the photographic work of Emanuele Satolli through an extensive selection spanning more than a decade of reportage from major conflict zones and humanitarian crises of our time.
In an age saturated with digital imagery – including propaganda, disinformation, and synthetic productions generated by artificial intelligence – Satolli’s work reaffirms the enduring role of photography as both witness and custodian of memory. His images bear testimony to lives scarred by war and landscapes devastated by it, distinguished by an extraordinary proximity to their subjects and by an ability to convey the intimacy of experiences lived under extreme conditions, while upholding a balance of documentary rigour and ethical responsibility.
Conceived as a continuous visual narrative that deconstructs linear reporting, the exhibition creates a visual space capable of evoking the fragmentation and suspension of time intrinsic to the experience of war. From the offensive of the Iraqi army in Mosul to the fall of Raqqa, from the Gaza protests to journeys through Afghanistan, and most recently the war in Ukraine, which Satolli has been documenting since 2022, the exhibition traces some of the most harrowing scenarios of the present day.
It is structured around four photographic sequences that focus on individual experience and the human condition in the face of violence: the rescue of Ukrainian soldiers injured by a Russian mine by the “Skala” battalion; the victims of the 2018 Gaza protests against the transfer of the US embassy to Jerusalem; civilians fleeing bombardments in Mosul; and the arrest and torture of a suspected ISIS member by the Iraqi army.
Moving beyond a purely geopolitical perspective, Satolli’s work conveys the complexity of contemporary war, not only as historical events but as lived experiences that compel us to reflect on the fragility and resilience of human beings.

On the Edge of Life and Death by James Marson

War stirs the blood. Teeth gritted. Jaw clenched. Heart pounding. Is death around the corner? Yours or someone else’s? The mundanity of everyday life recedes. It’s here, on the edge

of life and death, that one really lives. Everything matters, because the stakes couldn’t be higher.

How did we get here? Thousands of years have passed, and the purposes of war haven’t changed: defending a homeland, a people, a resource—or seizing someone else’s. What sends someone to war also remains the same: money, pride, loyalty, ambition.

The only thing that changes is the implement of slaughter. Once it was a knife in the throat delivered from a few inches away, the blood spurting onto the hands of the killer as they looked into the wide and wild eyes of their victim. These days it is mostly the crump and thud

of artillery, or the whiz-bang of explosives delivered from an aerial drone by a pilot miles away peering at an image on a screen that lends a strange intimacy.

How does it start? The steadiness of everyday life falls apart very quickly—crumbles to dust. Sometimes it isn’t noticed at first, like a small hole in a bucket of water, which drains away slowly.

Sometimes it arrives like a torrent, sweeping everything before it.

It can happen here, you know? One day there’s a game of football, a trip to the supermarket, a coffee on the terrace. The next, the ground shakes, the walls crack, and the human body is alone, soft flesh and fragile bone, against the metal.

Fight, cower, or flee? Whichever we chose, we’ll never be the same again. We ran for our lives, but the air was thick with metal, and our daughter didn’t make it. We buried our heads deeper and deeper and hoped to survive. Maybe some of us did. Or we fought.

How will they be, these warriors, who yesterday were drinking coffee, cheering the players and buying flour? They were kind, these brothers and fathers. They played with their kids. They helped a neighbour. But now, here they are, teeth bared, their tight throats burning with fear or fury, their fingers on triggers pointed at heads and necks.

Some of them are prepared to die, but which ones are prepared to kill? Those are the ones that are really needed. They will get the job done. For good or for bad.

Who will say what is good or bad? Was she passing the coordinates of our positions to the enemy? Her husband and son must have been helping her. They defied us! Their information cost us lives and time. They are combatants too! And soon, a mum, dad and son lay dead

in a shallow pit in a forest where they used to pick mushrooms.

Did you look her in the eyes as you killed her? Of course not. That’s for the irredeemable. I shot her in the back of the head. But now the tide has turned, and you, the great warrior, the grand

master of everyone and everything thanks to the gun that you carry, are disarmed, heaving for breath, throat dry like sand. Where is your power now? What mercy can you hope for, merciless one? Perhaps now, the danger has passed. Can we creep out from the

shattered walls and pick through what remains? Perhaps, perhaps we can breathe again.

What is left? There is our school teacher. He’s in a gutter, a chain around his hands and a rope around his neck. They have gone. We have won. We can relax. No need for body armour or helmets. Let’s just go take a look. There were battles here.

Discarded weapons, clothes and food. Drawings from children back home exhorting them to victory, to bring peace. They don’t know how they killed here. There’s the charred shell of a tank by the side of a field where tractors used to drive. And there, also, the wind blows through

the grass as the sun plays on the—BANG! You fool, you would have said to yourself—you let your guard down, and now you are dead, and it is too late. You are laid out on the back of a truck, and the socks that you pulled on this morning are useless because your feet are cold and dead.

Many are dead.

Many are not. But their blood is stirred. And it cannot be unstirred.

  • Sulyhivka village, Ukraine. September 2022 – Ukrainian soldiers of the Skala battalion, wounded by a landmine, leave the site of the explosion.
    Sulyhivka village, Ukraine. September 2022 – Ukrainian soldiers of the Skala battalion, wounded by a landmine, leave the site of the explosion.
  • Mosul, Iraq. July 2017 – A civilian fleeing an ISIS-controlled area seeks refuge while Iraqi Special Forces soldiers fight in Mosul’s Old City.
    Mosul, Iraq. July 2017 – A civilian fleeing an ISIS-controlled area seeks refuge while Iraqi Special Forces soldiers fight in Mosul’s Old City.
  • Bucha, Ukraine. April 2022 – A street in Bucha after the withdrawal of Russian troops.
    Bucha, Ukraine. April 2022 – A street in Bucha after the withdrawal of Russian troops.

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