(UN)HIDDEN. The art of unveiling
The word UN(HIDDEN) refers as much to the meticulous work of unveiling carried out by the artists as it does to the subjects they strive to tell, in this case the multiple marginal and veiled experiences of a resistant rituality, embodied in religious as well as secular practices, from New York to CapeTown via Palermo.
With the “Voguing” phenomenon, Chantal Regnault discovered the rise of the “ball” in New York between 1989 and 1992, the city where she was already established. She is attracted and curious about this parallel world that has developed in the shadow of AIDS.
She discovers a harsh marginality behind the apparent glamour which in truth is the screen of a reality of exclusion. American capitalist society was booming at the end of the 1980s and left on the sidelines a population of men and women wounded by life, young people expelled from their families without training or a profession, victims of racism and segregation. These excluded populations find an outlet in the glitter of dreamy characters with whom they identify through outrageous stagings set to disco music.
Nicola Lo Calzo. UN(HIDDEN)
The Binidittu photographic project documents the life of St. Benedict the Moor, a sixteenth century Catholic saint, and is part of a larger research project on the memories of colonial slavery of the African diasporas in the Atlantic world, the CHAM project.
The BINIDITTU series explores the story of St. Benedict, the invisible saint, probably the son of black-skinned African slaves to whom the Sicilians worshipped during his lifetime (a discreet life doing good) and whose figure quickly became subversive over time. During his lifetime he had acquired an incredible fame which was followed by several centuries of oblivion.
Today, Binidittu offers itself as an updated symbol of universal citizenship and establishes relations between migrants and the indigenous population despite a very present gap.
Rut Blees Luxemburg
With ELDORADO ATLAS, she focuses on her very close environment in London and explores the city in full mutation. The place of growing interests in the British capitalist society guides a frantic financialization.
The City and its system, opens the way to all the ambitious real estate upheavals that do not hesitate to demolish historic buildings for juicy profits, ignoring the pastists who rebel against this lack of safeguarding the city’s real estate heritage. Under the guise of development, what will be the identity of this city of the future, what kind of social project does this transformation lead to? What is the current status of this search for “Gold”?
Sue Williamson has dedicated her entire life as an activist and artist to the struggle against apartheid and is one of the South African pioneers who have documented social change in South Africa.
She is currently participating in the exhibition Global(e) Resistance at the Centre Pompidou and is internationally recognized for her life of struggle in images and deeds.