Video performance, 15’, 4K, Le Musée des Suisses dans le Monde, Geneva 2019
If the ontology of the sexes masks the power relations that Angela Marzullo denounces, her activism and protest seek to subvert gender codes in order to reveal a fluid gender ; in so doing, she commits herself to a denaturalisation of sex as with a feminine vulnerability and tenderness, taking into account past and present action. When she focuses on the history of cross-dressing, more specifically in “Gender Bending” or “Fuck Gender,” she proposes to venerate feminine gender/s, playing with difference, to overturn the patriarchy. It is as if she gave a new birth to her heroines without having to change sex.
News Paper, 28 ex., 45 x 63 cm,
Centre de la photographie, Geneva, 2017
Carried out over twenty-eight days, the performance uses the human biological cycle in order to generate models of resistance with radical sensuality. Its conceptual approach is defined in a specific spatio-temporal frame, that of the exhibition space. Marzullo performed every day, from 11 until 11.20 am, daily producing a new assemblage from Le Monde newspaper of the day.
She operates a surgical incision in the centre of Le Monde newspaper, creating in its centre a network of slashes and strips, decentring the informational content. The technique is that of folding : a fold deployed,a deleuzian pli.She cleaves the sheets of four sections, to bring forth a delicate and coloured form that evokes the vulva.
Published by Ripopé, Nyon & Centre de la photographie, Geneva, 2019
56 pages, 20.5 x 29.0 cm, EN, FR
This publication is necessarily in the image of Angela Marzullo’s piece. It is entire, not whittled away. In the process of attaining pleasure through the reading process (or at least the process of turning the pages), the reader encounters this work in undoing the cut of the pages from the bottom to the top. It is also a way to avoid the standardizing and normalized format of a book that is mechanically cut. If the book was not conceived as a sexual object, it participates in its own personal and sexual subjecti- fication, recalling the transgressive gestures of the artist.
Photo Sandra Pointet