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BODYXPOSITIVE

ON WORK

A photographic project based on the fusion of the body with nature and its representation in a positive way. The basic Idea is to highlight the pure beauty that every human body carries and the positive vision that it is capable of expressing itself.

The shooting has been realized following an open call for people living with HIV. The call was answered by dozens of people from all over Portugal, who spontaneously offered to be interviewed and to pose naked in a natural location that would help them to represent what they intended to tell with their bodies.

When observing the images, the observer will only be aware of the seropositivity of the people portrayed towards the end of the trip.

Subvert the pre-conceived point of view and allow to break the stigma that in an underlying way was created about people with HIV through the Media, photography and cinema. At the same time that the carriers will have another image of themeselves and in a self-awarness of theyr body, they feel encouraged to deal with the condition of being HIV positive without the stigma built by society.

Photography allows you to be a vehicle to start a journey and wake uo to the positive condition of the body in its purest state, stripped of clothes and prejudice.

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Projects

Feminine Plural

Getting to know each other through self-knowledge is a good couple’s exercise. So it happens that a single photographic session suddenly becomes common, the experience of a dance of bodies arises in a natural and spontaneous way, in which everyone does her part, although there was no script.

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Projects

Exstase of San Sebastian

In the 1948 autobiographical novel, Confessions of a mask, Yukio Mishima describes his first masturbation, which occurred following the strong attraction towards a painting, found in a book by his father: Guido Reni’s San Sebastiano. The martyr’s body, young and attractive, has been identified over time as a queer icon, a stumbling block against the demonization and criminalization of the enjoyment of the body.

It is the hero who chooses with his own body to give his life for his own principles and who decides, without calculation, to pay the price for having dared to be himself.

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Projects

About a strangled neck

I found in her an overwhelming femininity, that of a voluptuous and delicate body, which turns out to be exciting even when she doesn’t want it; that same femininity that seemed to block her breath like two hands around her neck. I have seen a fragile and vulnerable femininity, surrendered to emotions but without any desire to be horrified by the monsters of the past. Those same monsters that entered her life, taking her breath away and which, with immense effort, chased her out, recovering what she was: a powerful woman in a powerful body.

« There is always a reason why we allow a person to enter our life.There is always a reason why we allow a person to manipulate us, depersonalize us.

There is always a reason why we allow a person to overcome the common limits of physical and psychological violence. Our body speaks for us, transforms itself, transfigured by suffering, by pain, even before we become aware of it. The body has memory, just rethinking a strong emotion and here it transforms again, pain and suffering reappear. Through these photos I relive and defeat that pain and suffering. The prison of memories. The memory and trauma of my tight, strangled neck.

The desire to fight »

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Projects

Gyneceo

In ancient Greece the female body, considered as  the bearer of darkness and impurity, was placed in opposition to the male body, worthy of respect as with the meaning of a “political body”.

Women were therefore relegated to a hidden part of the house, exclusively reserved for them and the children. The number of women who shared the days inside it was considered as a body itself, called gynecea.

I’ve imagined this sequence of shoots inside an apartment as a representation a modern gynaeceum of women that talk to each other and to themselves during a long day spent together. The memories, the absences, the fears and the expectations of each merge in unison in the nudity of a single body, a gynecea , to which it is difficult to assign an identity, if not the same unique one deriving from their communion and fusion.

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Projects

Pandemico

A journey into pandemic emotions. Fears, desires, presences and absences are at the center of this six-handed study, born from reflections and improvisation in a Lisbon interior.

The subject of this collective research is the impact of the pandemic on affects and the body. Body and affects are seen here as concepts and emotions deeply affected by the social and planetary transformations generated by the long-lasting and deadly acceleration of something called neoliberal capitalism, of which the ongoing pandemic is only one of the latest outcomes, together with the uncertainties and further
vulnerabilities generated by the omen of a recurrent viral catastrophe.

The voice that accompanies the present photographic story is situated, individual, and collective at the same time: it represents a viewpoint, an
emotional tangle that reflects the lonely experience of one of us who is also and immediately in relationship with the others, and in the absence of the Other. This point of view is provided here in a circular time lapse, as the pandemic overflows the boundaries between past, present, and future, it brings memory in the realm of dreams and filters emotions through fears of the End and loneliness.

Texts: Gaia Giuliani/Paolo Gorgoni

** http://europeansouth.postcolonialitalia.it/journal/2020-7/1.Giuliani-Gorgoni-Avanzato.pdf**

What lies beyond the eyes: a night swallows the next, in weeks that last a day, in hours that last months. Spit what I can’t keep within, in soft swirls. Stay inside, drown there.
I imprinted the shapes of your body on a veil so that I can touch them when nobody sees me.
Suspended in memory while still alive, you are a Shroud on screen, AD 2020.
Heat passes through surfaces. Our curtain will be thin, so that every spark becomes a warm
halo with your features. And so that you can caress me before your arms grow cold.
Will it be elastic enough, resistant enough, aseptic enough, safe enough?
At most, it’ll guide us through crossings we’ve been unaware of.
Let’s get back into the Russian doll: in the beginning there was the
plastic-wrapped candy, then came the blowjob with a condom, then, finally, we
decided that skin itself was just too dangerous. How many layers are left
between the inside and the outside?
No place is harder to reach than here, now. In fact, we haven’t even set foot there yet.
Thigh or chest? We are under the sheath like skin underneath a layer of hot wax: if you tear it off properly, it only hurts for a second. We will do it slowly, one millimetre at a time, in the most inefficient and painful way.
They bring us to the table. Together.
They will eat us wrapped, without even chopping us up.
Not that it matters, since we’re not here.
We are all alone, see?