Entartete
14 x 21 cm, 180p, 72 colour plates, hot foil embossed quarter-bound hardcove, marker ribbon and colour page edges
14 x 21 cm, 180p, 72 colour plates, hot foil embossed quarter-bound hardcove, marker ribbon and colour page edges
Entartete (German for Degenerate) follow the experiments of the photographer Rita Lino during the years in many difference self-stagings. Through a series of photographs and films she explores the possibilities of her body with an uninhibited sexuality and a playful, stylised shamelessness. Her portraits are not expressionistically raw, keeping distance from the artist psyche where the identity is always a cloak, rum and aspiring.
Rita create each picture in some level of isolation, working in small series of photographs or even single photos, so each photo can speak by it itself. This book creates a perfect assembly of isolates images that together create a new and unique serie. A natural obsession with the self, a continuous “work-in-progress” that uses the self-body as primer matter to be re-created many layers of identify.
At times, she looks directly at the camera, daring and defying the audience to return her gaze; other times, she turns and looks away, blindfolding or covering her eyes. More than mere snapshots, her work touches on voyeurism, loneliness, the manipulative power of the camera, and the urge to connect with others, through, within, and apart from technology and the media. This sense of solicitude is emphasised as the viewer opens the book, allowing the viewer to be more absorbed in each picture, appreciating it or or hate it.
Rita create each picture in some level of isolation, working in small series of photographs or even single photos, so each photo can speak by it itself. This book creates a perfect assembly of isolates images that together create a new and unique serie. A natural obsession with the self, a continuous “work-in-progress” that uses the self-body as primer matter to be re-created many layers of identify.
At times, she looks directly at the camera, daring and defying the audience to return her gaze; other times, she turns and looks away, blindfolding or covering her eyes. More than mere snapshots, her work touches on voyeurism, loneliness, the manipulative power of the camera, and the urge to connect with others, through, within, and apart from technology and the media. This sense of solicitude is emphasised as the viewer opens the book, allowing the viewer to be more absorbed in each picture, appreciating it or or hate it.
When is nudity not naked? Perhaps when the body appears as a mask, a mask that refuses to be taken off, but is slowly shapeshifting nonetheless, slowly dying. You can look, or trying to look, but there is something in the between, between the viewer and the mask of her appearance.
Playing with her body, banalising and putting it out of context is the space where she can imagine herself. Her relationship with the camera is one you could call passionate. When she capture herself, she absorb it and it gives her pleasure. She is her true lover. The camera knows her better than she know herself. It knows how to look at her and it shows her glimpses of what she could never see reflected on a mirror.
Her work is a result of more than 10 years process of taking self-portraits, pictures of psychological or emotional moments, studying and learning from them. She doesn’t want really to giving a nude at all, but instated a confession and admission of vulnerability, rather than an image of titillation.
It feels like a split personality, doesn’t it? They repeatedly conceal their messages: identity is always a mask — necessarily strange and ambiguous. Her work constructs a self that is mutable and elusive. Whether concealed or conspicuous, Rita asserts that no exposure fully reveals her.
PRESS
collectordaily.com
americansuburbx.com
americansuburbx.com
dazeddigital.com
dailymetal.eu
Playing with her body, banalising and putting it out of context is the space where she can imagine herself. Her relationship with the camera is one you could call passionate. When she capture herself, she absorb it and it gives her pleasure. She is her true lover. The camera knows her better than she know herself. It knows how to look at her and it shows her glimpses of what she could never see reflected on a mirror.
Her work is a result of more than 10 years process of taking self-portraits, pictures of psychological or emotional moments, studying and learning from them. She doesn’t want really to giving a nude at all, but instated a confession and admission of vulnerability, rather than an image of titillation.
It feels like a split personality, doesn’t it? They repeatedly conceal their messages: identity is always a mask — necessarily strange and ambiguous. Her work constructs a self that is mutable and elusive. Whether concealed or conspicuous, Rita asserts that no exposure fully reveals her.
PRESS
collectordaily.com
americansuburbx.com
americansuburbx.com
dazeddigital.com
dailymetal.eu
Collectors edition
Limited Edition of 15. Each set comprising of a signed and numbered first edition book (1-15/15) housed in an laser engraved Black Ash presentation box together with a choice of an original Polaroid signed by the artist.
Order here
