Giusi Bonomo. Born in Modica in 1978, after studying law, she devoted herself to photographic work and writing. Among the exhibitions: Si bruciano il polpaccio video and exhibition at the Fiorentini Art Studio, John Cabot University Rome, and Trame 5, Festival of books on mafia, curated by Gaetano Savatteri; “1801 Passaggi” an Italian country 2017, MAVI Irpino Visual Anthropological Museum; VIRIDI, Museo del Fiore of Sanremo, curated by Laura Manione; Persona,SiFest Off 2018; PAROLES D’HISTOIRES, by Acte Public Compagnie, Film and Documentary Festival, Lyon; Der zoo, curated by Laura Manione and Ottavia Castellina, Quarenghicinquanta Photogallery, Bergamo; The Meridian Demons, Grenze Photo Arsenals, Verona; Rinascite, SHUTDOWN, Historical Archive of Istituto Luce Cinecittà, 2020; “Donne Forti”, Valsusa Filmfest, 2021; I Care, at Phest, Monopoli International Photography Festival 2021; Itaca, for the “20s Energie Nove” project, Gobetti Center,Turin; Mojo exhibition, Charta Festival 2021.
Der Zoo, 2019
All things have the silent and reticent aspect of well-bred people. The flowers openly say: “We know, but we will not speak”; but what they know is not known!
(Viktor Shklovskij, Zoo or non-love letters, Sixteenth Letter, 1923)
Sklovskij writes that there are two attitudes towards art, one of them is to consider it as a world of things that exist autonomously. When I think of photography I feel the same feeling of tenderness and total surrender for the things that are “given”, which don’t need to scream to exist.
I call the world, existence anything. These images are born as notes of something that escapes matter, moments of a distant gaze from the logic of the narrative. The visions presented here seem to mean: the world and nature are not posing for me, it is I who are posing for them.
These are images that can be defined as “unpretentious”. They feed on reticence and a primordiality where the observer and the observed merge and where the meaning comes later. Like two straight lines that walk parallel without ever meeting, the clandestinity that is akin to me in taking the path of photography and the condition of exile, of emigration evoked by Sklovskij – forced to talk about love things without naming them – meet and give the measure of the whole human story: a large menagerie.