PERFECT
What I did was start trying to make certain things to the dummy, my idea was to create a reality in which it was not clear where you really are in the sense that I wanted to create a fiction that was halfway between the dummy as a human being and the human as a dummy, mixing very human gestures with absolutely artificial things. So I started doing some tests, the first problem I encountered was that the dummy, of course, was posing fixed. This means every single movement, every little detail to change consisted of merging several photos into Photoshop. The thing scared me a lot because it was absolutely not an easy job, for every photo "finished" they served at least 4-5 shots and a mountain of post production. As the first tests these were completely lacking in aesthetic care both at the lighting and location level but in doing so I realized an incredibly obvious thing: the dummy has no expression, the strength of my photos had to be in the gesture. After some tests, I realized that every kind of gesture and action that was not usual for the dummy was humanizing him very much, creating precisely that situation of the medium I was looking for.
Another problem that was immediately placed was the "where". I already had a like and a thing but lacked the location in which to set my work. The tests I had made were very very minimal, wall floor and nothing else but maybe it wasn't the right way. Recovering the work of Tim Wlker and Annie Leibovitz I thought it might make sense to create a scenario that was in turn a dream scenario in order to strengthen the gesture that the mannequin was doing. The photo that I had chosen to set was one of the few that the Momentoavevo and that worked, that is, that of the dummy that takes off the arm. The problem now was in figuring out what kind of location could have rafforzarequesto message. The gesture that the dummy performs is precisely the taking off an arm, without looking, naturally as if it were a normal thing for her to change the pieces. This made me think of the gesture, much more human, of the undressing and then immediately I thought of a very homely location. Yet it was not enough, it took a longer step, a house was not that fairytale world I was looking for that I started to search in the shops of Bolzano if someone had spaces that were good for my work. Only after doing the photo I realized that it was something that did not work at all; It was aesthetically beautiful and attractive but the attention shifted from the gesture of the mannequin to the context in which it was immersed in more this imaginary so pushed was so theatrical that he called the fiction of the theatre and lost the ambiguity of the human dummy by recalling the world of fashion photography in which nothing of what we see is true. I in this case did not want to lose the Attaccamentocon a minimum of reality (reason why I excluded as background the photographic limbo). At this point the choice of where he returned almost to my first tests: I light floor, a white wall and nothing else. Nothing was to distract from the dummy and his gesture, neither the place nor the clothes. Everything be neutral and clean while remaining a true place and not a white limbo. We publish a part of the thesis realized by Luca Meneghel, now a graduate of the Faculty of Design and Arts of Bolzano, who has carried out a research on the concept of beauty of our days.
After I found out where to take my definitive photos I continued to on making tests to choose then the series that would make my show. The idea that I had was to work both on the perception of himself and on the traces of cosmetic surgery and on the act of Aesthetic surgery but portatoall exaggeration. This allowed me to oscillate between a reality in which the dummy is human and one in which the human is a dummy with all possible sfaccettatureintermedie. The Spectator so, looking at these pictures, repressesed his ego and projects me in the subject of my story that is the extremeization of the representation of the woman simply as an object. This is what the art history has always happened, the woman was neither the artist nor the spectator but only what was looked at and this, of course, transformed her into something non-human subordinate to what the artist wanted and what the spectator transposed. My project also plays on this: The Soggettodel my tale is in a space halfway between the complete commodification of the body that depends on the choice to completely eliminate the people in favor of an abstraction of the body, and the Restore "human life" to a oggettoinanimato. The dummy is human in gestural and thought but at the same time is not a living thing, this is noted in the photos in the relationship between body and face: The body is completely humanized and contrasts with a face that is lacking in any expressiveness, in this way the photos recall the perfection of the idealized and artificial body without detaching from a human imaginary. The same ambivalence is also in the role of the mannequin towards those who look at the actions shown by the dummy are usually something that should not be shown but at the same time the subject, being a dummy, it is very far from voyeurism as it is an object that is born with the specific role of Exhibitor. Also through this split of the role of the mannequin towards those who watch it strengthens the twofold meaning of the subject whose nature is always less defined and it depends more and more on how much the viewer can identify itself within the history. The mannequin will be as human as those who watch recognize as his actions shown (mainly at the beginning of the story) and, after becoming that dummy, the spectator gradually becomes an object that has behaviors typical of that oggettoallontanandosi from what is really human.
