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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

Vittorio Mimun was born in 1933 in Benghazi, Libya. His father, Elia Mimun, was originally from Cyrenaica, but the family had ancient Sephardic roots tracing back to the Spanish Inquisition, when their ancestors were forced to leave Spain and settled in North Africa. Vittorio’s mother, Rosa Meiohas, was born in Jerusalem, but moved to Libya at the age of three, when Vittorio’s grandfather was sent to Benghazi to manage the affairs of a large textile company. Elia Mimun also worked in the textile industry, serving as a representative for major Italian companies, ensuring that the family had a stable and comfortable life in Benghazi until 1942.

Elia Mimun, second from the right. Benghazi, 1930s. Archives CDEC Foundation
Elia Mimun, second from the right. Benghazi, 1930s. CDEC Foundation Archives

In those years, Benghazi, under Italian rule, was experiencing difficult times due to World War II. The city was repeatedly occupied by British forces, and many members of the Jewish community were interned in concentration camps in Libya and Tunisia. However, the Mimun family managed to avoid this fate: shortly before the Allied takeover, Elia obtained special authorization from the Italian governor to move the family to Tripoli.

My father was allowed to move from Benghazi to Tripoli

Vittorio Mimun: I lived in Benghazi until 1942. After that, with authorization from the Italian government, from the Italian governor, my father was allowed to move from Benghazi to Tripoli, while most of the Jewish communitya good part of itwas sent to concentration camps around Tripoli.

Interviewer: What was the camp called?

Vittorio Mimun: The camp was in Yefren, a town 50 km from Tripoli. Among them were my father’s brothers and sisters. My father, however, since he was represented major Italian textile companies, received an authorization documentwhich I think I still havethat allowed Mr. Elia Mimun and his family to move to Tripoli, avoiding the concentration camp.

Vittorio continued his education in Italian schools: first at the Scuola Regina Margherita in Benghazi and then at the Dante Alighieri School in Tripoli, both institutions attended by many Jews. In Tripoli, he discovered a diverse Jewish community, with many residents living in the city and others, less affluent, in the hara, the old city. The years in Tripoli were marked by increasing tensions. Vittorio witnessed the pogroms of 1945 and 1948, during which the community tried to defend itself from violence. These were challenging years, during which many Jews decided to leave Tripoli and migrate to Israel, supported by international organizations and delegates from the Israeli government. The departures were meticulously organized and included medical examinations, treatment for the sick, and transportation to the port, where ships were departing for Israel.

They organized emigration for the Jews who wanted to leave

Vittorio Mimun: They [the Israeli delegates] organized [emigration] for the Jews who wanted to leave, conducting medical examinations through the [American Jewish] Joint [Distribution Committee] and the OSE [Oeuvre de Secours aux Enfants]. Those who were unable to leave because of illnesses, like tuberculosis, were sent to Italy, to Sondrio, for treatment. Families were kept in Tripoli until they recovered, then they were sent to Israel. There were gathering camps in the city; the ship would arrive, they would gather all the families on the list scheduled to depart on that ship, and they would accompany them by bus to the port for boarding.

In the 1950s, after Libya’s independence, Elia Mimun decided to pursue a long-held project and moved to Italy. Vittorio chose to stay in Tripoli instead, where he continued to manage the family business in the textile sector. During this period, he got married, and two of his three children were born. But in 1967, during the Six-Day War, tensions rose once again, and anti-Jewish and anti-Israeli demonstrations forced Vittorio and his family to leave Libya for good. They settled in Milan, where they began a new chapter in their lives.

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.