Home Actress Maria Grazia Chiuri HD Instagram Photos and Wallpapers April 2024 Maria Grazia Chiuri Instagram - Claire Fontaine’s installation in occasion of the @Dior Fall Winter 2024 show held at the @BrooklynMuseum features colourful suspended neon lights that echo the triangle hand gesture of 1970s feminist demonstrations, a homage to Santoro’s work on the female body and female form. Each neon depicts the hands of several people involved in the project, a sort of collective portrait. The hands raised in a triangle to form a vagina appeared in squares in the 1970s and its story is told in the fantastic book Il Gesto Femminista, edited by Ilaria Bussoni and Raffaella Perna, in which its origins and history are traced with archive images and contributions from sociologists, philosophers, art historians, photographers and film directors, all women. “Hands spread like wings to recall the women’s revolt when their hands were raised to form a rhombus, materialising the vagina. [...] To have brought the vagina out in the open, being as desired as unknown, was an act of rare visual violence, because to materialise it, to duplicate it with our fingers, was also a way of exorcising it, of freeing ourselves from its slavery, of freeing a secret from the darkness that surrounds us.” Claire Fontaine Slide 1 Claire Fontaine, Double (F), 2023 Slide 2: Photo: Paola Agosti. Roma, aprile 1977. Slide 3: Photo: Paola Agosti. Roma, aprile 1977. . Slide 4: Photo: Agnese De Donato

Maria Grazia Chiuri Instagram – Claire Fontaine’s installation in occasion of the @Dior Fall Winter 2024 show held at the @BrooklynMuseum features colourful suspended neon lights that echo the triangle hand gesture of 1970s feminist demonstrations, a homage to Santoro’s work on the female body and female form. Each neon depicts the hands of several people involved in the project, a sort of collective portrait. The hands raised in a triangle to form a vagina appeared in squares in the 1970s and its story is told in the fantastic book Il Gesto Femminista, edited by Ilaria Bussoni and Raffaella Perna, in which its origins and history are traced with archive images and contributions from sociologists, philosophers, art historians, photographers and film directors, all women. “Hands spread like wings to recall the women’s revolt when their hands were raised to form a rhombus, materialising the vagina. […] To have brought the vagina out in the open, being as desired as unknown, was an act of rare visual violence, because to materialise it, to duplicate it with our fingers, was also a way of exorcising it, of freeing ourselves from its slavery, of freeing a secret from the darkness that surrounds us.” Claire Fontaine Slide 1 Claire Fontaine, Double (F), 2023 Slide 2: Photo: Paola Agosti. Roma, aprile 1977. Slide 3: Photo: Paola Agosti. Roma, aprile 1977. . Slide 4: Photo: Agnese De Donato

Maria Grazia Chiuri Instagram - Claire Fontaine’s installation in occasion of the @Dior Fall Winter 2024 show held at the @BrooklynMuseum features colourful suspended neon lights that echo the triangle hand gesture of 1970s feminist demonstrations, a homage to Santoro’s work on the female body and female form. Each neon depicts the hands of several people involved in the project, a sort of collective portrait. The hands raised in a triangle to form a vagina appeared in squares in the 1970s and its story is told in the fantastic book Il Gesto Femminista, edited by Ilaria Bussoni and Raffaella Perna, in which its origins and history are traced with archive images and contributions from sociologists, philosophers, art historians, photographers and film directors, all women. “Hands spread like wings to recall the women’s revolt when their hands were raised to form a rhombus, materialising the vagina. [...] To have brought the vagina out in the open, being as desired as unknown, was an act of rare visual violence, because to materialise it, to duplicate it with our fingers, was also a way of exorcising it, of freeing ourselves from its slavery, of freeing a secret from the darkness that surrounds us.” Claire Fontaine Slide 1 Claire Fontaine, Double (F), 2023 Slide 2: Photo: Paola Agosti. Roma, aprile 1977. Slide 3: Photo: Paola Agosti. Roma, aprile 1977. . Slide 4: Photo: Agnese De Donato

Maria Grazia Chiuri Instagram – Claire Fontaine’s installation in occasion of the @Dior Fall Winter 2024 show held at the @BrooklynMuseum features colourful suspended neon lights that echo the triangle hand gesture of 1970s feminist demonstrations, a homage to Santoro’s work on the female body and female form.
Each neon depicts the hands of several people involved in the project, a sort of collective portrait.
The hands raised in a triangle to form a vagina appeared in squares in the 1970s and its story is told in the fantastic book Il Gesto Femminista, edited by Ilaria Bussoni and Raffaella Perna, in which its origins and history are traced with archive images and contributions from sociologists, philosophers, art historians, photographers and film directors, all women.

“Hands spread like wings to recall the women’s revolt when their hands were raised to form a rhombus, materialising the vagina. […] To have brought the vagina out in the open, being as desired as unknown, was an act of rare visual violence, because to materialise it, to duplicate it with our fingers, was also a way of exorcising it, of freeing ourselves from its slavery, of freeing a secret from the darkness that surrounds us.” Claire Fontaine

Slide 1 Claire Fontaine, Double (F), 2023
Slide 2: Photo: Paola Agosti. Roma, aprile 1977.
Slide 3: Photo: Paola Agosti. Roma, aprile 1977. .
Slide 4: Photo: Agnese De Donato | Posted on 16/Apr/2024 19:40:28

Maria Grazia Chiuri Instagram – In occasion of the @Dior Fall Winter 2024 show held at the @BrooklynMuseum, Suzanne Santoro has presented a site specific installation titled “I Thought Art Was for Women”, the readaptation of an artwork first seen in Rome in 1976. This work is a slideshow of photographs taken by the artist during her early years in Rome. It is connected to the research she began in the late 1960s on the origins of Western painting and sculpture through a series of images ranging from stains on Rome’s walls to classical Roman sculptures, understood as traces and evidence of the passage of time. Santoro’s research is an attempt to trace the archaic origin of images and interpretations of the female figure in order to provide a new perspective. The second installation features a series of recent drawings and Black Mirrors taken from the artist’s collection. I am very happy to give guests and museum visitors the opportunity to view the artist’s works in real life at the entrance of the showspace. 

Images from “I Thought Art Was for Women”, 1976-2024, video projection, variable dimension. Courtesy Suzanne Santoro
Maria Grazia Chiuri Instagram – Thank you to the beautiful girls who walked the show  tonight. It was such an honour to present my first prèt-a-porter collection at the @brooklynmuseum

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