Marinella Senatore Italy, 1977
Bodies in Alliance / Politics of the Street III, 2019
Giclée print on fine art mounted on Forex, wooden frame and acrylic fabric.
70 x 100 cm.
Edition 2 of 5 + 2 AP
The series Bodies in Alliance / Politics of the Street appropriates the title of a 2011 conference by philosopher Judith Butler which examines public demonstrations against the precarious status of...
The series Bodies in Alliance / Politics of the Street appropriates the title of a 2011 conference by philosopher Judith Butler which examines public demonstrations against the precarious status of working people, gender and sexual minorities.
The people that appear in the pictures by Marinella Senatore are members of the Pussy Riot performing in an underground nightclub on Hope Street, Johannesburg (South Africa). Senatore invited Pussy Riot to join her on a trip to Johannesburg to address the lack of safety of LGTBIQ+ communities, and the surge of night clubs to assume the role of "new churches". South Africa and Russia (Pussy Riot's motherland) are characterized by the lack of freedom in the street, and it turned the stage on night clubs into social platforms and meeting places for likeminded people. The photographs focus on Pussy Riot's convulsed actions for the camera, as their limbs synchronized with each other in one politicized body. Although they share some familiarity with the visual documentation of 1970s feminism, the colors are vivid and saturated as in modern social media. Moreover, the aesthetics of the artwork wink at vintage film strips with the black frame hitting the print, and two curtains complete the presentation.
The people that appear in the pictures by Marinella Senatore are members of the Pussy Riot performing in an underground nightclub on Hope Street, Johannesburg (South Africa). Senatore invited Pussy Riot to join her on a trip to Johannesburg to address the lack of safety of LGTBIQ+ communities, and the surge of night clubs to assume the role of "new churches". South Africa and Russia (Pussy Riot's motherland) are characterized by the lack of freedom in the street, and it turned the stage on night clubs into social platforms and meeting places for likeminded people. The photographs focus on Pussy Riot's convulsed actions for the camera, as their limbs synchronized with each other in one politicized body. Although they share some familiarity with the visual documentation of 1970s feminism, the colors are vivid and saturated as in modern social media. Moreover, the aesthetics of the artwork wink at vintage film strips with the black frame hitting the print, and two curtains complete the presentation.