COMO UM JABUTI MATOU UMA ONÇA E FEZ UMA GAITA DE UM DE SEUS OSSOS
The performance presents the audience with the image of a male body subjugated by an object: an orange high-heeled shoe whose heel is a 30-cm stake. Unable to stand and occupy an erect, masculine and dominating position, this body moves slowly across the horizontal plane through a choreography that condenses images referring to a woman’s objectification. Based on the transformation of the shoe and its placement on a male body, the work raises questions regarding gender identity and the role of objects in this process.

جانين أنتوني
珍妮安东尼
ג’נין אנטוני
재닌 안토니
Жанин Антони
Mortar and Pestle
“The eye and tongue in “Mortar and pestle” could become the tongue and eye of any advanced intimate partnership.”
Since the 1990s, New York–based artist Janine Antoni has established an international reputation with labor-intensive projects in a wide range of media. She incorporates both art history and personal exploration, investigating the ways in which contemporary definitions of aesthetics and art making are connected to issues of gender identity and sexuality. Inspired by the feminist artists of the 1970s, she reframes and subverts art-historical and societal conventions surrounding women and beauty.

جانين أنتوني
珍妮安东尼
ג’נין אנטוני
재닌 안토니
Жанин Антони
INGROWN
Since the 1990s, New York–based artist Janine Antoni has established an international reputation with labor-intensive projects in a wide range of media. She incorporates both art history and personal exploration, investigating the ways in which contemporary definitions of aesthetics and art making are connected to issues of gender identity and sexuality. Inspired by the feminist artists of the 1970s, she reframes and subverts art-historical and societal conventions surrounding women and beauty.

THE MASQUERADE OF THE REAL
“I am a German artist based in Berlin working in the field of photography, video and installations. The main focus of my photographs is identity and the role of the human body within society. Image-generating media like photography, television, and film and their use in advertising and the internet impose increasing demands on the body and subject it to a process of abstraction, while at the same time leading to the emergence of a public opinion, the solidification of images as role models with gender-specific attributes.”

PILLARS OF HOME
A SEARCH FOR BALANCE WITH A PROBLEM SOLVING ATTITUDE CHARACTERISES MY WORK. WITHIN MY CURRENT PRACTICE I CAREFULLY EXAMINE AND DECONSTRUCT PERSONAL CHALLENGES SUCH AS PARENTHOOD, GENDER, AND THE MALLEABILITY OF SELF IDENTITY THROUGH THE PASSAGE OF TIME.

Джузеппе Рандаццо
transmutation
Transmutation#01 is a generative system composed of two interacting multicellular agents in a Voronoi spatial configuration. Each cell owns a color/saturation information. The cells interact with each other and with the other agent. The two agents are different. The circular one, the most active and in evolution, constantly tries to reorganize its shape and color structures, connecting similar colors in concentric formations. Moreover the saturation and shape of its colors aggregates are influenced by the duration and proximity of the interaction with the other pluricellular agent, whose motion is abstract and immutable. The metaphor at the heart of this system is a reference to the subject of the 2012 Gender Docufilm Festival in Rome, from which the video was commissioned, that precisely addresses the issues related to the the reengineering and the transmutation of the sexual, physical, mental identity, through the collision / confrontation with the external reality. Coded with Processing, rendered with 3Delight (via Processing). In collaboration with Filippo Ulivieri, music by Massimo Dolce.