work
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| category | Video |
| subject | Political / Social |
| tags | |
| minutes | 2 |
| seconds | 12 |
| year | 2022 |
Two simultaneous sensations, absence and presence, arose one afternoon in the Tuscan countryside with the advent of rain, when I glimpsed a chair apparently abandoned on the side of the road and an umbrella resting on it.
From this arose the basis of the work's concept, a chair that at that moment was not occupied by anyone, the absence, but at the same time the awareness of the function of that very chair, hence the presence of that figure accustomed to its use, the prostitute.
From that moment on, a reflection developed on prostitution, society and their connection closely related to what has always been the concept of my art.
It was only a few years later, however, that I began the realisation of this artistic project, which started from what I had been presented with that afternoon, a chair.
How to turn this into a work?
An installation and a video.
I started by searching for all those chairs that were by the roadside.
For months during the night I immersed myself in that reality, I walked along different streets and stopped whenever a prostitute and her chair appeared on my street.
So I exchanged, whenever possible, a chair I had previously bought with one given to me by these women.
My chairs would then begin to have a function and theirs would cede the space occupied by the absence of the prostitutes, to the presence of the spectator.
At the same time as my research I began the editing of the video, a video that was not intended to be purely that, but a means of bringing people into the reality of prostitution,
which with so much effort is relegated to the margins of society.
A chair, the street and cars, this is the introductory scene, the everyday life of prostitutes who live a life parallel to the movement of society and who only find a meeting point during that pause of only fleeting necessity for people.
However, these chairs do not only have the street in front of them, behind them there are usually fields, they are enclosed on both sides by figurative cages.
A second scene then takes us to a wheat field, a symbol of wealth and society, a place that as anticipated is behind these women but does not belong to them.
At the end of the video the arrival of an almost dazzling white, a mountain, a chair, a red thread, scissors and with them the return to the original state.
The montage then covers the description of what is the reality of prostitutes, of the work to which society confines them, the pretended purification and redemption from what are the faults attributed to them but which ends with a failure, a return to the initial state, a pretended concession of redemption by society.
The path that the sdia takes dragged along by this thread that pushes her towards a goal but which is cut off; the colours and the grain of the video that with their delicacy are overpowered by the bursting sound of the drops of water turned into rain, this is the prostitutes' lack of a chance for revenge.
From this arose the basis of the work's concept, a chair that at that moment was not occupied by anyone, the absence, but at the same time the awareness of the function of that very chair, hence the presence of that figure accustomed to its use, the prostitute.
From that moment on, a reflection developed on prostitution, society and their connection closely related to what has always been the concept of my art.
It was only a few years later, however, that I began the realisation of this artistic project, which started from what I had been presented with that afternoon, a chair.
How to turn this into a work?
An installation and a video.
I started by searching for all those chairs that were by the roadside.
For months during the night I immersed myself in that reality, I walked along different streets and stopped whenever a prostitute and her chair appeared on my street.
So I exchanged, whenever possible, a chair I had previously bought with one given to me by these women.
My chairs would then begin to have a function and theirs would cede the space occupied by the absence of the prostitutes, to the presence of the spectator.
At the same time as my research I began the editing of the video, a video that was not intended to be purely that, but a means of bringing people into the reality of prostitution,
which with so much effort is relegated to the margins of society.
A chair, the street and cars, this is the introductory scene, the everyday life of prostitutes who live a life parallel to the movement of society and who only find a meeting point during that pause of only fleeting necessity for people.
However, these chairs do not only have the street in front of them, behind them there are usually fields, they are enclosed on both sides by figurative cages.
A second scene then takes us to a wheat field, a symbol of wealth and society, a place that as anticipated is behind these women but does not belong to them.
At the end of the video the arrival of an almost dazzling white, a mountain, a chair, a red thread, scissors and with them the return to the original state.
The montage then covers the description of what is the reality of prostitutes, of the work to which society confines them, the pretended purification and redemption from what are the faults attributed to them but which ends with a failure, a return to the initial state, a pretended concession of redemption by society.
The path that the sdia takes dragged along by this thread that pushes her towards a goal but which is cut off; the colours and the grain of the video that with their delicacy are overpowered by the bursting sound of the drops of water turned into rain, this is the prostitutes' lack of a chance for revenge.
