La Stazione Centrale di Milano aveva una breve tratta sotterranea, il Binario 21, che era adibita al carico e scarico dei vagoni postali, avendo diretto accesso al piano stradale di Via Ferrante Aporti. I vagoni venivano poi sollevati da un elevatore fino al piano ferroviario, una decina di metri sopra la strada e da li agganciati dalle locomotive motrici.

Tra il 1943 e il 1945 il Binario 21 venne utilizzato per caricare sui vagoni piombati, destinati ai campi di concentramento nazisti, migliaia di uomini, donne, bambini. Ebrei, oppositori al regime nazi-fascista, avversari politici. Di loro pochissimi tornarono a casa.

Da un anno il Binario 21 è diventato Memoriale della Shoah, per ricordarci di ricordare quegli orrori: il prossimo 26 e 27 Gennaio, il Binario 21 sarà aperto per due giorni di visita al pubblico. Tra le visite guidate, alcune saranno commentate da Lella Costa, Gioele Dix, Gad Lerner, Natalia Aspesi, e dal direttore del «Corriere della Sera» Ferruccio de Bortoli.

Qualche immagine ….

b21 1 b21 2 b21 3


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It has been more than fifty years since I began traveling across the world — and the seven seas — for work or for pleasure, always with a Leica M camera close at hand. The camera has never been an accessory; it has been a constant companion, a way of observing, remembering, and making sense of the places and people I encountered along the way. I started keeping this kind of journal some time ago, not as a diary in the traditional sense, but as a space where images and words could meet. This is not a publication driven by schedules or algorithms. At times I disappear for long stretches; then, inevitably, I return with semi-regular updates. Publishing, for me, is a mirror of my state of mind and emotions. It follows my rhythm, not the other way around. You have to take it exactly as it comes. Every photograph you see here is mine. They are fragments of a life spent moving, looking, and waiting for moments to reveal themselves — often quietly, sometimes unexpectedly. This blog is not about destinations, but about presence. About what remains when the journey slows down and the shutter finally clicks.

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