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Country of origin:

Country of birth:

Year of birth:

Age at arrival in Italy: years old

He leaves the country of origin for reasons

The arrival in Italy did not involve intermediate stops

He arrives in Italy with family members

The map follows the movements of the interviewee, ending the year after their arrival in Italy
Colette Treves with her cousin in Port Said, circa 1938. Archives CDEC Foundation
Colette Treves with her cousin in Port Said, circa 1938. Archives CDEC Foundation

Colette Treves was born in Cairo on June 17, 1936, to Isidore and Paulette Freiman, both of whom were born in Egypt. Her maternal family had Romanian roots, while her father’s side was of Piedmontese origin and held Italian nationality. Colette’s father ran a cotton goods import business from Europe with his brother, which kept him quite busy. She grew up in a household that was strongly influenced by European culture and recalls a happy and comfortable childhood. Although Colette’s parents were not particularly involved in Cairo’s social scene, her mother occasionally hosted small gatherings at their home.

We had a beautiful piano at home, and my mother had a wonderful voice

Colette Treves
We had a beautiful piano at home, and my mother had a wonderful voice, though I’m not sure what kind of voice it was. She sang opera very well, and her sister, who had studied at the Lausanne Conservatory, was a marvelous pianist. I remember they used to host small gatherings, where—after dinner—they would perform these little concerts. My mother would sing, and there was also a gentleman, a friend of theirs, who had a Greek name and a beautiful tenor voice. He and my mother would do duets, with my aunt accompanying them on the piano. These are very vivid memories that I still recall even after so many years.

Colette initially attended the Lycée Français, but after her father’s untimely death in 1950, when she was just fourteen, her mother decided to transfer her to a Catholic school run by Franciscan nuns. Paulette began to feel a growing sense of insecurity about Egypt’s future and wanted her daughter to complete her studies as quickly as possible, earning a diploma that would be recognized in Europe, in anticipation of potential emigration.

In the streets of Damascus and within the walls of his home, Clement spoke Arabic, but both he and his siblings received a Jewish education in the French schools run by the Alliance Israélite Universelle. Until the mid-1940s, Clement recalls a relatively peaceful coexistence between Jews and Muslims, though he remembers witnessing the first signs of intolerance against Jews as a teenager.

She was determined to emigrate to Europe, whether to France or Italy—it didn’t matter

Colette Treves
My father died when I was fourteen, leaving my mother a widow in a country that was becoming somewhat hostile towards Europeans in general, which made her feel vulnerable. She was afraid to remain in Egypt, while I was living my life as a normal teenager. She was determined to emigrate to Europe, whether to France or Italy—it didn’t matter. To make it happen as soon as possible, because she was quite anxious, my mother pushed me to complete the last two years of school in a single year—an effort that demanded immense intellectual and emotional strain—and to pass my final exams. I took the baccalauréat at sixteen, with a special program from the French Embassy, as the official regulations didn’t allow students to sit the exam before a certain age. It was extremely stressful, but all of this happened because of a major fire in January 1952, which caused the death of a dear friend of my mother’s who was staying at the Shepherd’s Hotel when it was set ablaze. In an attempt to escape the flames, she jumped out of a window and died. My mother became deeply fearful that something worse could happen to us.

Colette Treves beneath her home in Manhattan. New York, 1969. Archives CDEC Foundation
Colette Treves beneath her home in Manhattan. New York, 1969. Archives CDEC Foundation

The Cairo fire in January 1952 marked a time of heightened tensions regarding the foreign presence in Egypt, foreshadowing the end of the monarchy with the Free Officers’ Revolution, led by Gamal Abdel Nasser. That same summer, Paulette decided to leave, right after Colette’s baccalauréat. Mother and daughter flew to Rome and then moved first to Milan and later to Paris. Colette dreamed of settling in the French capital and specializing in pediatrics, but circumstances led her to stay in Milan. There, she found work with a British airline and became part of a lively social scene. After spending several years in the United States, Colette returned to Italy for good at the end of the 1960s, marrying Bruno Pavia shortly afterward.

Related stories

Come leggere i data portrait
I dati rappresentati nei data portrait riguardano il genere, l’età all’arrivo in Italia, il decennio di arrivo in Italia, il paese di origine, i motivi della partenza, se il viaggio ha incluso tappe intermedie o è stato diretto e se la persona ha viaggiato da sola o con la famiglia.

Genere ed età all’arrivo in Italia

Femmina, età 0-9

Femmina, età 10-19

Femmina, età 20-29

Femmina, età 30-39

Femmina, età 40-49

Femmina, età 50-59

Femmina, età 60-69

Femmina, età 70-79

Femmina, età 80-89

Femmina, età 90-99

Maschio, età 0-9
Maschio, età 10-19
Maschio, età 20-29
Maschio, età 30-39
Maschio, età 40-49
Maschio, età 50-59
Maschio, età 60-69
Maschio, età 70-79

Maschio, età 80-89

Maschio, età 90-99

Decennio di arrivo in Italia

1940
1950

1960

1970

1980

Paese di origine

Egitto

Iran

Libano

Libia

Siria

Tunisia

Motivi della partenza dal paese di origine

Politici

Economici

Studio

Personali

Viaggio diretto o con tappe intermedie prima dell’arrivo in Italia

Viaggio diretto

Tappe intermedie

Arriva in Italia da solo/a o con familiari

Arriva in Italia da solo/a
Arriva in Italia con familiari

Cos’è un data portrait
Un data portrait è un’interpretazione artistica di un set specifico di dati riguardanti un individuo, che viene quindi ritratto a partire dai dati, anziché raffigurarne l’aspetto fisico come nei ritratti tradizionali. I data portrait sono rappresentazioni visive che mediano tra la visione dell’artista, i dati del soggetto e l’interesse del pubblico (Donath et al., 2010).
Seguendo questo concetto, i data portrait sviluppati da Sara Radice specificamente per il progetto TRAME forniscono un “ritratto” delle persone rappresentate, basato su alcuni dati specifici di interesse per il progetto e indipendente dal loro aspetto fisico.

Bibliografia e crediti
Judith Donath, Alex Dragulescu, Aaron Zinman, Fernanda Viégas, Rebecca Xiong; Data Portraits. Leonardo 2010; 43 (4): 375–383. doi: https://doi.org/10.1162/LEON_a_00011.

I data portraits ideati per questo progetto traggono ispirazione da alcuni progetti di data portraits di Giorgia Lupi, come, per esempio, l’installazione fisica “…Ma poi, che cos’è un nome? ” sviluppata per la Fondazione CDEC presso la Triennale di Milano nel 2018 e i TED Data Portraits del 2017.

How to read the data portraits
The data represented in the portraits include gender, age at arrival in Italy, decade of arrival in Italy, country of origin, reasons for departure, whether the journey included stops or was direct, and whether the person traveled alone or with family.

Gender and age at arrival in Italy

Female, age 0-9

Female, age 10-19

Female, age 20-29

Female, age 30-39

Female, age 40-49

Female, age 50-59

Female, age 60-69

Female, age 70-79

Female, age 80-89

Female, age 90-99

Male, ages 0-9

Male, ages 10-19

Male, age 20-29

Male, age 30-39

Male, age 40-49

Male, age 50-59

Male, age 60-69

Male, age 70-79

Male, age 80-89

Male, age 90-99

Decade of arrival in Italy

1940

1950

1960

1970

1980

Country of origin

Egypt

Iran

Lebanon

Libya

Syria

Tunisia

Reasons for departure from the country of origin

Politics

Economic

Study

Personal

Direct trip to Italy or with one ore more intermediate stops

Direct trip

With one ore more intermediate stops

She/He arrived in Italy alone or with family members

She/He arrived in Italy alone

She/He arrived in Italy with family members

What is a data portrait
A data portrait is a form of artwork that visually represents a specific set of data about an individual, rather than depicting their physical appearance like traditional portraits. Data portraits are subjective renderings that mediate between the artist’s vision, the subject’s data, and the audience’s interest (Donath et al., 2010).
Following this concept, the data portraits designed by Sara Radice specifically for the project TRAME allow for an understanding of a person through various data points, enhancing the viewer’s understanding of the subject beyond their physical appearance.

References and credits
Judith Donath, Alex Dragulescu, Aaron Zinman, Fernanda Viégas, Rebecca Xiong; Data Portraits. Leonardo 2010; 43 (4): 375-383. doi: https://doi.org/10.1162/LEON_a_00011.

The data portraits designed for this project draw inspiration from the data portraits projects designed by Giorgia Lupi, such as the physical installation “…Ma poi, che cos’è un nome?” for the CDEC Foundation at the Milan Triennale Museum in 2018 and the TED Data Portraits in 2017.