Italiano
Eva Maya’s art practice is based on the encounter with the Other. The artist uses an anthropological technique based on a participatory observation, which allows her to deeply connect with different human categories. Maya explores archetypical identity features such as femininity, masculinity, desire, power, success. Therefore identity becomes a multiplicity of meaning: “I would suggest the possibility to be more”.
Arte Tag: genere
Silvia Gribaudi
Roger Salas says about her in the Spanish newspaper El Paìs:”Silvia Gribaudi es una artista singular que cultiva el feísmo y un humor ácido; su llamativo físico ya va a contracorriente” [Silvia Gribaudi is a unique artist who cultivates the ugly-ism and a bitter humour; her showy physique is definitely against the current]
“As for Silvia Gribaudi’s A CORPO LIBERO…? Well, what can I write that could possibly do it
justice? It’s a manifesto for emancipation. It’s beautifully, minutely-observed. It’s uplifting,
charming, intoxicating and elevating. And it unabashedly celebrates humanity. And to be
completely honest, I don’t think in the entire festival I’ve seen a more beautiful human being onstage”.
Review by
Duncan Keegan
EGON BOTTEGHI
Egon Botteghi works are theatrical performances born from the body of a trans person, a body of muscle and blood, bone and fat, experience, thoughts, voices, cultural elaboration and critical spirit, formed from a collage of writing, Reading, video interviews, music and song, to tell their own story and the stories of other trans people, over and above physchology as the only means of existence.
“I am a transsexual man. I am not a trans because I want to deny the woman in me because I’m ashamed of her, even discovering I was trans made me understand I could make shine my pride in my feminine side that is nothing more than eternal feminism and above all make shine the person I really am Ego-n. Applause to argon because this is his way”. (From “Call me Egon”. diary of a transsexual man”. Theatrical performance).
(Italiano) MOTUS
The company Motus was founded by Enrico Casagrande and Daniela Nicolò in 1992. The group burst onto the scene in the Nineties with productions wielding great physical and emotional impact and has always anticipated and portrayed some of the harshest contradictions of the present day. Throughout the years, the group has created theatre shows, performances, installations and videos, conducted seminars and workshops, taken part in interdisciplinary festivals. They’ve received numerous acknowledgements, including three UBU Prizes and prestigious special awards for their work. Freethinkers, Motus have performed all over the world, from Under the Radar in New York, to Festival Trans Amériques in Montreal, Santiago a Mil (Chile), the Fiba Festival in Buenos Aires, Adelaide Festival in Australia or Taipei Arts Festival in Taiwan, as well as all over Europe.
Cecilia Grasso
How would it be, for a woman, living a day as a man?
The background of a drag show is the opportunity to explore inside the most intimate aspects of Kinging.
From stories and experiences of a group of Drag Kings, daily recorded, it emerges a construction practice identity staging gender stereotypes and bares the predominance of men in our society.
The author, with participant but not intrusive gaze, show fascination and complexity of a little unknown universe, where the surplus becomes spectacle, and the transformation is liberating narrative of the self.
Senith
Senith is a queer drag performer, curator of workshops and events, and queer activist. Co-founder of Eyes Wild Drag, Senith works with the experimentation with roles, genders and the erotic imaginary, and has contributed to the first performative and critical construction of the Faux Queen in Italy, redrawing the queer imaginary around the feminine/femminile. Senith has often captured the attention of national and international media. In 2012, she was involved in a international tour that took her in numerous European cities, as well as in the US. She is the artistic director of the festival GendErotica. In 2013, in the occasion of the festival, she organized the first Italian (and European) Fem Conference, which gathered together numerous artists, activists, and academics from various parts of the world. In the same year, the festival was hosted by Arte Fiera in the city of Verona, in the space curated by the organization CUNTemporary. In 2015, the “Erotic Lunch” was then born: a lunch-show dedicated to erotism, of which Senith is performer and art director. In 2016, Senith creates her first solo show, BAD ASSolo. In the same year, she plays a role as co-protagonist in the documentary Al di là dello specchio (Beyond the mirror), by Cecilia Grasso, which features in several festivals both in Italy and abroad. The film won the best direction award at the Newark International Film Festival (USA). Morover, Senith participates to the realization of the work La Luna in Folle by the Italo-Libanese artist Adelita Hosni-Bey (which was selected for the Maxxi Award 2016) by performing at the Museo Nazionale per le Arti del XXI Secolo on the 29th of Sept.
Marika Puicher
Marika Puicher is a freelance photographer specializing in social reportages. In 2009 she travels to Turkey where she tells the everyday life for Kurds in Istanbul. In summer 2010, she documents the search of the civilians killed in Bosnia during the war. Right after she gets involved in documenting the Italian economic crisis, the drama of the Italian families who fight for their houses, and the Ilva chemical disaster in the area of Taranto. In 2012 she wins the Portfolio Citerna Award with the project “For the children’s sake”, on the terrorist attacks in Italy. Afterward, she produced a series of works on the theme of the LGBT people’s right in Italy, Spain and Morocco. She wins the Pride Photo Award 2015 with the project “Ella”; and the second price with the series “Solo”. Her project “Ella” has been awarded also an honorable mention in the MIFA 2015.
Slavina
Slavina is a multimedia artist: she defines her research and creative field as porn activism. She became a video maker at the DIY school of media activism with Candida TV; in the late ‘90s she was involved as photographer and performer in PhagOff, the first queer party in Rome. In 2005 she moved in Spain where she discovered the post-pornography scenery. Since then, her production has grown focusing on body politics and the representation of sexuality. Chasing an impossible balance between art and activism, in her projects (video, theatre, cabaret and workshops) she wants to enhance the political transformation potential of intimacy sharing. Thanks to her effort in networking and translations, she eased the diffusion in Italy of the most interesting works and artists of the Spanish contemporary feminism. She belongs to the collective of directors “Le ragazze del porno” and to the academic research and performative transnational project of Zarra Bonheur.
Lilly Lablonde
I am a perfomer, writer and director for theatre and cinema. My artistic interest focuses on the desire to represent stories that hardly find their own space in the art world. I have always been very passionate about the topic of gender identity and sexuality.
In my performative works I experiment with different languages of art communication (video, literature, sound and poetry). In the last two years I have been mainly focused in the realization of short films: Immaginare T (2014) and The Second Closet (2015).
Under the artistic name Lilly Lablonde I created the international art project Bibliothèque Érotique that has the goal to work on the topic of erotism and sexuality through literature and the live performance.
Silvia Giambrone
Mainly I use conceptual art to illustrate my own social commentary with a focus on the relation between subject and power. Through several media including performance, installation, sculpture and sound, I explore body practices and contemporary gender politics making viewers aware of the silent and hidden ways power enters everyday life and affects relationships. I am interested in material culture and image culture and I dig into everyday life and practices to reveal, as it was almost an archaeological operation, the signs of both the physical and invisible evidences of the ‘subjectification’ process.