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Far from being neutral, these images contribute to the formation of cultural and territorial identities, reinforcing dominant narratives while also holding the potential to disrupt, reframe, and resist them.",[],{"_key":790,"_type":321,"children":791,"markDefs":796,"style":329},"68e68f2c552d",[792],{"_key":793,"_type":325,"marks":794,"text":795},"63d8332978090",[],"Within this context, Der Greif “Local Voices” continues to foreground situated perspectives and collaborative authorship as a way of slowing down image circulation and re-embedding images within their social, cultural, and political conditions. Through an ongoing exercise in co-writing, the project examines how visual practices can counter homogenizing narratives and support more plural, democratic forms of representation by insisting on specificity, locality, and dialogue, foregrounding situated knowledge over dominant or centralized narratives.",[],{"_key":798,"_type":321,"children":799,"markDefs":804,"style":329},"5b923b6b55e8",[800],{"_key":801,"_type":325,"marks":802,"text":803},"b065abac23840",[],"In conversation with Eva Rivas Bao, this month we delve into the Italian visual culture of media language shaped by Berlusconi’s Mediaset: a hyper-saturated, commercial landscape that engineered a specific, highly political representation of the body. In her project “Una storia italiana,” Rivas Bao subverts this historic media monopoly by stepping directly into its aesthetic arena. Using generative AI as a forensic tool, she reconstructs the missing visual archive of the trials, translating the late Imane Fadil’s courtroom testimonies into raw, intentionally flawed imagery. By hacking the very language of overproduction and distortion that once insulated Italian soft power, Rivas Bao fills the historical gaps of a failed local #MeToo reclaiming the narrative from decades of systemic victim-blaming and turning the aesthetic of the \"pop spectacle\" against itself.",[],{"_key":806,"_type":321,"children":807,"markDefs":812,"style":329},"130f19d7a2b1",[808],{"_key":809,"_type":325,"marks":810,"text":811},"f8aa28e5c4670",[],"Rivas Bao is an Italian-Argentinian photographer born in Milan, whose work merges documentary photography with digital manipulation. She holds a BA in New Technologies of Art from the Accademia di Belle Arti di Brera while working with the studio and archive of fashion photographer Gian Paolo Barbieri. She completed the Master’s program in Photography at ECAL in Lausanne in 2025. Her work originates from a direct and initially simple documentary framework, but everything is subjected to a process of manipulation through massive post-production, destroyed and recomposed in the form of an hybrid between reality and simulation, between amateur gesture and the codes of pop culture, where ‘poor images’ function as a key empowering element within the work. In her projects she addresses the question of identity and the contemporary perception of women in Italy and in Europe, and the manipulation of them by the mass media in the last thirty years.",[],{"_key":814,"_type":321,"children":815,"markDefs":820,"style":821},"eb4e1265d894",[816],{"_key":817,"_type":325,"marks":818,"text":819},"6d39c4c844470",[],"Ilaria Sponda: The Berlusconi era imposed a specific visual hegemony in Italy, characterized by color saturation, commercial television aesthetics, and a precise representation of the body. In what way does your project reinterpret these codes through artificial intelligence in order to reveal their mechanisms of power?",[],"intro",{"_key":823,"_type":321,"children":824,"markDefs":829,"style":329},"5b4912ff1cfd",[825],{"_key":826,"_type":325,"marks":827,"text":828},"d607c5770ea80",[],"Eva Rivas Bao: I used fiction to reconstruct the gaps. AI served as a tool that allowed me to take control of the Berlusconian visual language and reclaim it by prompting scenes based on what Fadil had declared in court, despite the absence of any visual evidence. I believe photography has always been a medium capable both of controlling reality and of losing control over it at the same time. I am interested in the relationship between these two extremes, especially within the Italian context, where political television programs can sometimes contain more fiction than fictional films themselves. In my practice, I have been strongly inspired by Hannah Höch’s approach on photomontages. Beginning in the 1920s, she collected photographs from fashion magazines and reassembled them into Dadaist satirical photomontages in Berlin. In “Una storia italiana,” (translatable into “An Italian Story”) I employed a similar technique, but through AI and post production. I therefore use AI as a tool rather than as the subject of the project itself.",[],{"_key":831,"_type":321,"children":832,"markDefs":837,"style":821},"6f9b4b9cc300",[833],{"_key":834,"_type":325,"marks":835,"text":836},"ed8464b768c10",[],"IS: In what way does the abstraction or distortion produced through AI help you reveal what remained invisible or erased within the official narrative of Italy in the 1990s and 2000s?",[],{"_key":839,"_type":321,"children":840,"markDefs":845,"style":329},"a35bc91a612f",[841],{"_key":842,"_type":325,"marks":843,"text":844},"2d4c08160b270",[],"ERB: The distortion and abstraction in my AI images are highly constructed; they are not generated by AI itself, which by nature tends to produce hyper-realistic and well-composed images. I deliberately built these photographs to look ‘poor’ . In the images depicting the abusive parties at the former president’s house, I meticulously composed the error itself, training the AI to generate ugly, out-of-focus photographs, or adding flash deliberately. Error gives the story a sense of truth and forensic quality. I exploited the potential embedded in imperfection and in the amateur gesture. Berlusconi used the media as an instrument of soft power. His censorship was not only ‘classical’ – through corruption and the elimination of evidence – but also operated through the saturation and overproduction of images, which made objective facts difficult to verify. He manipulated the image and identity of Imane Fadil and many other women, portraying them as unstable and constructing an entirely fabricated imaginary around them, based on sexist and racist stereotypes that he himself had cultivated through his media empire over previous decades. Yet what Fadil stated so courageously in court still exists and remains accessible on YouTube. That is where I began. Artificial intelligence became a tool through which I attempted to make visible what Fadil testified to in court over the course of nine years, before her death in 2019 and prior to Berlusconi’s acquittal in 2023. For example, it allowed me to ‘hack’ Villa San Martino by inserting into the exact locations the scenes described by Fadil, or by reintroducing the Priapus statuette that the president allegedly made the young women at the table touch in turn.",[],{"_key":847,"_type":321,"children":848,"markDefs":853,"style":329},"c668f0ca741d",[849],{"_key":850,"_type":325,"marks":851,"text":852},"bd132eb7c5ad0",[],"It also became a form of collaboration with Fadil herself. Having gained access to her photographic archive, I was able to create photomontages using some of her own images in dialogue with my research – for instance, the photograph in front of Villa San Martino featuring Fadil’s shadow, where the foreground image is hers and the background photograph was taken by me.",[],{"_key":855,"_type":321,"children":856,"markDefs":861,"style":821},"93b44d900d8a",[857],{"_key":858,"_type":325,"marks":859,"text":860},"14d89297ca3d0",[],"IS: How do you manage to balance the visual appeal of that pop aesthetic with the need to produce a democratic and pluralistic representation that challenges those very roots? And what is your personal relationship to that aesthetic and social legacy?",[],{"_key":863,"_type":321,"children":864,"markDefs":869,"style":329},"5e15af6e1ae5",[865],{"_key":866,"_type":325,"marks":867,"text":868},"812f7d63bd690",[],"ERB: Imane Fadil and many other women were destroyed by a media construct, and therefore the only way I felt I could deconstruct that language was by using the very same language that destroyed them/us. The idea for the project emerged after a long period of research in Imane’s home, where she lived with her best friend, and after he told me who Fadil really was behind the entire media construction. After seeing and photographing her books and personal objects, meeting her dog, Mia, who now lives with her best friend, and seeing the box in her room containing her clothes, I began to ask myself: what remains after all this failure? I was not interested in keeping the photographs purely documentary, but in doing something beyond that, beginning with carrying forward the legacy that Fadil herself had started through her words.",[],{"_key":871,"_type":321,"children":872,"markDefs":877,"style":329},"ca4ecb928b6a",[873],{"_key":874,"_type":325,"marks":875,"text":876},"0a59973e71140",[],"I began this project when I was 22 years old, and I am often asked why Berlusconism matters to me, given that I only experienced the very end of it. I believe the answer is already contained within the question itself: my generation is the result of the Berlusconi era. Just as the generations shaped by fascism had to confront that past – by remembering and archiving it so that it would not happen again – I believe the same should happen with the Berlusconi era, albeit in a different historical and political context. So as a feminist, and above all as a photographer, I felt an urgency to make this project. I balanced the visual seduction of pop aesthetics with the story narrated by Fadil, which is far less seductive and instead deeply distressing. I am interested in drawing in viewers who believe they are looking at a ‘Berlusconian’ image and automatically expect to laugh – whether at him or with him – only to then realize, once they understand the content, that ultimately it is not funny at all. Film theorist Laura Mulvey writes about how the transition to the digital era was fundamental for feminism: the possibility of freezing moving images made it possible to observe and analyze them more deeply. What I did was freeze them, copy them, paste them, cut them apart, recombine them, and print them in the form of a book or exhibition that gives “Una storia italiana” a more official status, something to be taken more seriously. In a certain sense, I also draw from Legacy Russell’s theory of “Glitch Feminism”: revealing the medium itself and re-presenting it by using errors and glitches as forms of empowerment.",[],{"_key":879,"_type":321,"children":880,"markDefs":885,"style":821},"1e1ec23fdbcc",[881],{"_key":882,"_type":325,"marks":883,"text":884},"2225414259980",[],"IS: Are there specifically Italian terms or concepts – such as ‘trasformismo’ or ‘velinismo’ – that you tried to ‘translate’ into visual prompts?",[],{"_key":887,"_type":321,"children":888,"markDefs":893,"style":329},"787255ecb794",[889],{"_key":890,"_type":325,"marks":891,"text":892},"464dacbeb3260",[],"ERB: In my project, I translated only through Fadil’s own vocabulary – for example, Berlusconi groping young girls, or him falling asleep during his parties because of his age. The only expression I retained was “papi girl” – the way many of the girls used to call him – but within this context, it takes on a far more disturbing meaning. I am not interested in reproducing the ‘ironic’ language created by his own mass media, such as “bunga bunga” or “elegant dinners.” Those dinners were not elegant at all; they were spaces of sexual abuse and underage prostitution. Personally, I never use the term “bunga bunga” because otherwise it feels as though Berlusconi is still winning through his soft power. More broadly, I believe the language itself needs to be corrected, simply by looking again at recent Italian history for what it really was: a collective failure in which the entire country, from right to left, seemed united in only one thing – victim blaming and media violence against the women involved in the trial. Imane Fadil, for example, instead of being protected and praised for her extraordinary courage, was devoured by the media system and isolated for nine long years before dying in 2019, under highly mysterious circumstances, within three weeks of announcing that she had written a book about the parties. It is also important to remember that even today Italy continues to victim-blame a woman who was, at the time, a seventeen-year-old girl: Karima El-Mahroug (and certainly not “Ruby Rubacuori”). She was only seventeen, yet newspapers exposed her face publicly without protecting her privacy. Finally, if I had to choose one prompt that I used repeatedly, it would be: “adolescents dressed as adult women.” ",[],{"_key":895,"_type":321,"children":896,"markDefs":901,"style":821},"2b2401856cb5",[897],{"_key":898,"_type":325,"marks":899,"text":900},"d4a13e0810110",[],"IS: What kind of reception has your project received within the Italian context?",[],{"_key":903,"_type":321,"children":904,"markDefs":909,"style":329},"5ecd05dcdd1b",[905],{"_key":906,"_type":325,"marks":907,"text":908},"998f2ae64e3d0",[],"ERB: At first, I thought the project would not receive much attention in Italy, because we tend to want to forget our failures – especially the Berlusconi era, which seems as though it never truly ends. Instead, I encountered a great deal of interest from all kinds of people, especially women. There is a strong desire to understand and to emerge from the confusion, as well as a curiosity to discover the figure of Imane Fadil more deeply. I also did not expect to receive attention from public institutions, yet I was selected as a finalist for the Luigi Ghirri Prize in Reggio Emilia, which gave the project significant visibility. From June 11, I will also exhibit as a finalist for the Premio Mila by Fondazione Malerba at Careof in Milan. Exhibiting specifically in Milan, where so much of this history has developed, feels particularly meaningful. Of course, I have also faced rejections. The reason, I believe, is that speaking about the figure of Imane Fadil is still difficult in Italy. There is always a tendency to avoid taking risks during these times, even within the art scene. Sometimes even people who oppose Berlusconi prefer not to speak about him, in order to avoid “giving him space” again, but to me this does not make any sense at all, also because my project is about Imane Fadil and not Silvio Berlusconi. Yet Berlusconi, despite being dead, continues to be used in political campaigns as if he were still alive, which is, in itself, a very interesting phenomenon.",[],{"_key":911,"_type":321,"children":912,"markDefs":917,"style":821},"bf31551d8186",[913],{"_key":914,"_type":325,"marks":915,"text":916},"4000911ec03d0",[],"IS: The book version of “Una storia italiana” echoes the format of Berlusconi’s magazine “Una storia italiana,” which also inspired the title of your project. Could you elaborate on this aspect?",[],{"_key":919,"_type":321,"children":920,"markDefs":943,"style":329},"a07d1f348ba1",[921,925,930,934,939],{"_key":922,"_type":325,"marks":923,"text":924},"e6c5ff6ae8350",[],"ERB: The project was initially conceived as a book during ",{"_key":926,"_type":325,"marks":927,"text":929},"6d79e145d3ab",[928],"bfb120871903","Bruno Ceschel",{"_key":931,"_type":325,"marks":932,"text":933},"82d436fcaa3e",[],"’s course in the Photography Master’s program at ECAL. Together with him and the other great professors, it was certainly a very stimulating environment in which to understand how to think about images, what to do with them and why. From the beginning, my intention was always to create something official – a book that could also function as a physical document, capable in some way of seriously archiving what had happened. Recently, I was very happy that, during the opening days of Fotografia Europea in Reggio Emilia, the new photobook published by ",{"_key":935,"_type":325,"marks":936,"text":938},"0973eb960aa1",[937],"0c0e1c437826","Skinnerboox",{"_key":940,"_type":325,"marks":941,"text":942},"3253bda61067",[]," was released. The title is yet another appropriation stolen from Berlusconi. “Una storia italiana” was a self-celebratory magazine that he mailed to every Italian household in 2001 before winning the elections for the second time. However, I reused the title to speak about another “Italian story”: the story of Imane Fadil and the Ruby trial.",[944,947],{"_key":928,"_type":945,"button":53,"newWindow":72,"url":946},"annotationLinkExternal","https://dergreif.org/search?result=Bruno+Ceschel",{"_key":937,"_type":945,"button":53,"newWindow":72,"url":948},"https://www.skinnerboox.com/books/unastoriaitaliana",{"_key":950,"_type":321,"children":951,"markDefs":956,"style":329},"80fa0973787f",[952],{"_key":953,"_type":325,"marks":954,"text":955},"748d887f271d0",[],"IS: Imane Fadil described abuses and power dynamics in Arcore for which no photographic evidence exists. How would you define this new status of the image? How did you develop the AI training process to create these visual forms of evidence?",[],{"_key":958,"_type":321,"children":959,"markDefs":964,"style":329},"5952d39d0324",[960],{"_key":961,"_type":325,"marks":962,"text":963},"96c17a66c44a0",[],"ERB: As for the photographs, I used AI in a very “craft-based” way, because I experimented with many different methods to construct the images through that technique. I created a dataset containing photographs with a Berlusconian aesthetic, onto which I later prompted Fadil’s own words. In other cases, I used simpler approaches such as image-to-image generation, or I would add only small elements – for example in the documentary photographs taken inside Fadil’s home. More generally, AI became a tool and a way of covering the ‘gaps’ and the absence of visual data within this story. The attempt to recreate “missing images” is something I had already encountered in Rithy Panh’s 2013 documentary The Missing Picture, in which he used clay figurine dioramas to visually reconstruct memories and atrocities from 1970s Cambodia that had never been documented by cameras. It felt important to archive this sort of failed Italian #MeToo, and the use of fiction to fill in the gaps became necessary in order to build a visual reconstruction. The 1990s philosopher Sadie Plant wrote about women and new technologies in “Zeros + ones: digital women + the new technoculture” (1997), and about how women were historically excluded from computing despite their foundational role in its development. She also wrote about ‘absences,’ ‘gaps,’ and ‘zeros,’ elements often historically symbolically associated with women as spaces that are actually fertile grounds for creativity. In a way, I think this project puts that idea into practice.",[],"2026-06-05T07:00:00.000Z",{"description":6,"image":967,"title":12},{"_type":8,"asset":968},{"_ref":10,"_type":11},{"_type":8,"asset":970},{"_ref":399,"_type":11},"i-am-because-of-you-mother-earth-zanele-muholi-s-call-for-images-and-texts",{"description":973,"image":974,"title":976},"An in-depth look at how “Una storia italiana”  by Eva Rivas Bao deconstructs Mediaset's visual culture to preserve the voice of the late Imane Fadil and the failed #MeToo.",{"_type":8,"asset":975},{"_ref":399,"_type":11},"Eva Rivas Bao reconstructs Italy's failed #MeToo from within the Berlusconi era 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the upcoming Der Greif issue 19 guest edited by Zanele Muholi and supported by Alexander Tutsek-Stiftung",[],{"_key":1161,"_type":321,"children":1162,"markDefs":1167,"style":329},"3ee049849309",[1163],{"_key":1164,"_type":325,"marks":1165,"text":1166},"111f83b458400",[],"For decades, perhaps since its inception, traditional documentary photography has operated on extraction, entering marginalized spaces to record suffering before leaving the story framed by an outside gaze. In the upcoming Der Greif Issue 19, guest editor and world-renowned South African visual activist Zanele Muholi shatters this paradigm entirely. Muholi wants to transform the magazine into a \"shared ecosystem,\" a collective space where photography is weaponized for self-representation, intimacy, and historical preservation.",[],{"_key":1169,"_type":321,"children":1170,"markDefs":1175,"style":329},"6381ca75998a",[1171],{"_key":1172,"_type":325,"marks":1173,"text":1174},"6144ec58ef590",[],"In a profound dialogue with our Editor Ilaria Sponda, Muholi maps out a radical redefinition of \"the environment.\" Moving far beyond pristine landscapes and Western nostalgia for the wilderness, Muholi roots their vision in the African philosophy of Ubuntu, the lived practice of “umuntu ngumuntu ngabantu” (\"a person is a person through other persons\"). To Muholi, the environment is not a backdrop; it is an extension of our own flesh. The history of the Earth is inextricably bound to the history of the Black body, carrying the scars of colonial extraction, forced migration, and ancestral blood.",[],{"_key":1177,"_type":321,"children":1178,"markDefs":1183,"style":329},"c45226969ebf",[1179],{"_key":1180,"_type":325,"marks":1181,"text":1182},"f95a1dc8f9730",[],"By deliberately breaking conventional brackets collapsing the hierarchies between the Global North and South, uniting fifteen-year-old dreamers with seventy-year-old activists, and bleeding the boundaries of photography into performance and ritual, Issue 19 issues an urgent challenge to its audience. It demands a confrontation with political ecology. From the rural landscapes of South Africa to global struggles for visibility, this issue aims to bring together a network of authors who refuse erasure, proving that to defend the land, we must defend the marginalized bodies who inhabit it. Apply (https://site.picter.com/der-greif-issue-19) until June 20, 2026 to participate in this claim for the land as a shared body and legal entity themselves.",[],{"_key":1185,"_type":321,"children":1186,"markDefs":1191,"style":821},"ec2e0bcec39c",[1187],{"_key":1188,"_type":325,"marks":1189,"text":1190},"b7a1f70803f10",[],"Ilaria Sponda: You define yourself as a \"visual activist.\" In your own words, how does visual activism differ from traditional documentary photography, especially when it comes to bringing visibility to South Africa’s Black LGBTQIA+ communities?",[],{"_key":1193,"_type":321,"children":1194,"markDefs":1199,"style":329},"9360a4931a24",[1195],{"_key":1196,"_type":325,"marks":1197,"text":1198},"0bd1e2ee46a00",[],"Zanele Muholi: For me, visual activism is not merely about taking a picture of a person and walking away. Traditional documentary photography often operates on extraction: the photographer enters a community, takes what they need, and leaves the story framed by their own gaze, their own benefit. Visual activism means you are inside the struggle, you are of the community, and the camera is a tool to co-create, to affirm life, not just to record suffering. When I photograph my people, Black LGBTQIA+ bodies in South Africa, I’m saying: you exist, you are beautiful, you deserve to be seen in your fullness, your resistance, your love, your pleasure. It is not enough to show the wound; we must show the joy, the intimacy, the survival. Visual activism insists on agency. My participants are not subjects; they are collaborators. Together, we are writing ourselves into history from a space of power, not victimhood. We are saying: we refuse to be defined solely by the violence enacted upon us. We are here, we have always been here, and we will not be erased.",[],{"_key":1201,"_type":321,"children":1202,"markDefs":1207,"style":821},"0886c5019e40",[1203],{"_key":1204,"_type":325,"marks":1205,"text":1206},"828ff26aa3340",[],"IS: Looking back, was there a specific moment or encounter that made you realize photography could be understood as a form of empowerment to confront prejudice, stereotypes, and violence?",[],{"_key":1209,"_type":321,"children":1210,"markDefs":1215,"style":329},"fa2f53d6465b",[1211],{"_key":1212,"_type":325,"marks":1213,"text":1214},"c63e426f4bb80",[],"ZM: Yes, there was a moment, but it is not singular; it is a series of losses and urges that made the camera a necessity. I held the camera after the death of a dear friend, a Black lesbian woman, who was murdered. The media came, took images of the scene, and left. And I asked: where is her dignity? Who will show who she was, her smile, her softness, her strength? I started because I was tired of our stories being told by others, often with sensationalism or pity. But I also remember photographing my own mother when she was ill. I wanted to hold her image before she transitioned. Photography became a means to hold onto those I love, to make visible what this country wanted to disappear. Every time I raise my camera, I think: “This is a political act.” I am giving a weapon of self-representation to my community. The empowerment is in the gaze: when a person looks into my lens and gives me permission, we are saying, “I am in control of my image. I decide how I am remembered.”",[],{"_key":1217,"_type":321,"children":1218,"markDefs":1223,"style":821},"061b934b6276",[1219],{"_key":1220,"_type":325,"marks":1221,"text":1222},"3fc1e1b15cf40",[],"IS: From the early 2000s, you have documented and celebrated the lives of South Africa’s Black lesbian, gay, trans, queer and intersex communities. How did Mother Earth come into your focus?",[],{"_key":1225,"_type":321,"children":1226,"markDefs":1231,"style":329},"0c03dcad3d35",[1227],{"_key":1228,"_type":325,"marks":1229,"text":1230},"30ff39dadfcc0",[],"ZM: From the early 2000s, my work has always been about the body and land, but the shift to naming Mother Earth directly came from a deep recognition that our bodies are the first environment we inhabit. You cannot separate the violence done to Black queer bodies from the violence done to the earth. In South Africa, we see how mining, extraction, and pollution harm the poorest communities – the same communities where my participants live. I started thinking: when I photograph a Black trans woman’s hands buried, I soil, when I place a body against a tree or submerged in water, I am not just making a portrait; I am showing that we are nature. Mother Earth became my collaborator because the land holds our ancestor, our blood, our labour. The soil remembers. The ocean carries the Middle Passage. When I ask participants to lie on the earth, to merge with rock and root, I am asking: “Can you see this Black body as a mountain? Can you treat this body as sacred, like a river? The environment is not “out there.” We breathe it. We are it. And to defend our lives, we must defend the earth, because the same systems that dump waste on our land also dump hate on our bodies.",[],{"_key":1233,"_type":321,"children":1234,"markDefs":1239,"style":821},"5e92812364ba",[1235],{"_key":1236,"_type":325,"marks":1237,"text":1238},"846ac86144b70",[],"IS. You’ve spoken about the camera as a tool for people to \"write their own stories.\" Could you share more about your teaching practice at the Muholi Art Institute? What is your ultimate vision for the young people and Black women from rural South Africa who pass through your program?",[],{"_key":1241,"_type":321,"children":1242,"markDefs":1247,"style":329},"1aec0a751e47",[1243],{"_key":1244,"_type":325,"marks":1245,"text":1246},"1afce798492e0",[],"ZM: The Institute is not a school that teaches you to hold a camera correctly and then sends you off. It is home. I say to young people, to the Black women from rural areas: “You are not empty vessels waiting for knowledge. You arrive with stories, with a way of seeing that no city-trained photographer has. My role is to hand them the tool and say, ‘Write yourself.’ The camera is a pen. I teach them to photograph their own grandmothers, their lovers, their landscapes, their struggles, with tenderness. Many of these young women have been told they have no voice. I tell them: your voice is the shutter. I want them to own their archives. I do not want another generation to wait for someone from outside to document them. My ultimate vision is a network of visual activists spread across the rural areas, each one building a visual archive of their existence that is so powerful, so undeniable, that this country can no longer say we do not exist. I want them to command the galleries, the books, the walls. I want their names written in the history of photography not as subjects, but as authors.",[],{"_key":1249,"_type":321,"children":1250,"markDefs":1255,"style":821},"3571c671075c",[1251],{"_key":1252,"_type":325,"marks":1253,"text":1254},"1bef8b6834ca0",[],"IS: You frequently move away from the idea of \"the landscape\" as a separate entity, stating that \"You are the environment\" and nothing exists in isolation. How does African philosophy of Ubuntu shape this worldview?",[],{"_key":1257,"_type":321,"children":1258,"markDefs":1263,"style":329},"4f141f3bc02d",[1259],{"_key":1260,"_type":325,"marks":1261,"text":1262},"d9ccfd9c6ca30",[],"ZM: Ubuntu is not a slogan; it is a lived practice that says: I am because you are. In isiZulu, we say “umuntu ngumuntu ngabantu” – a person is a person through other persons. This philosophy refuges separation. So, when I say, “You are the environment,” I am speaking Ubuntu. Nothing exists in isolation. The tree is my relative; the water is my ancestor’s tears. The child playing in the dust is the dust. If I harm the river, I harm myself. If I violate your body, I violate my own humanity. In my photography, when I frame a Black queer body merging with a landscape, I am making Ubuntu visible. I am showing that our freedom is tied to the freedom of the land. We cannot be safe while the forests are burned. Apartheid taught separation of peoples; colonial thinking taught separation from nature. Ubuntu teaches us that we are a web of life. The landscape is not a backdrop for my portraits; the landscape is the portraits. I am photographing the earth through the body, and the body through the earth.",[],{"_key":1265,"_type":321,"children":1266,"markDefs":1271,"style":821},"b0e8cdae590e",[1267],{"_key":1268,"_type":325,"marks":1269,"text":1270},"dce231d3e8470",[],"Your recent work frames the Black body as a living geography inseparable from the health and politics of the Earth. You’ve even spoken about exhuming the body as an ecosystem. Could you expand on this idea? How do you view the Earth themselves as a Black body?",[],{"_key":1273,"_type":321,"children":1274,"markDefs":1279,"style":329},"5ad3f390c55a",[1275],{"_key":1276,"_type":325,"marks":1277,"text":1278},"ca8b4a8d85970",[],"ZM: Yes, the Black body is a geography, a map of histories of forced migration, of buried pain, and of persistent growth. When I speak of exhuming the body as an ecosystem, I mean we must dig up the lies that say our flesh is separate from the soil and water. The earth is a Black body because the earth holds the bones of enslaved Africans thrown into the ocean, the blood of mineworkers deep in the gold seams, the sweat of women tilling fields they do not own. The earth breathes with those spirits. When I photograph a Black person covered in clay, or emerging from soil, I am showing that our living tissue is continuous with the microbial life in the ground. After death, our bodies feed the soil; we become part of the forest. In life, we are already an ecosystem – gut bacteria, skin cells, water, minerals. Western science is only catching up to what indigenous knowledge has always known: the boundary between self and environment is a fiction. To love the earth is to love the Black body, because the earth has been racialised, exploited, and discarded in the same way. Healing one requires healing the other.",[],{"_key":1281,"_type":321,"children":1282,"markDefs":1287,"style":821},"182f36843fa7",[1283],{"_key":1284,"_type":325,"marks":1285,"text":1286},"1ba1b9289ea60",[],"IS: You’ve described your guest-editing process for Der Greif not as a solo venture, but as a \"shared ecosystem.\" Can you expand on this?",[],{"_key":1289,"_type":321,"children":1290,"markDefs":1295,"style":329},"89f08e7d6c18",[1291],{"_key":1292,"_type":325,"marks":1293,"text":1294},"610dea96a2820",[],"ZM: I cannot do this alone. Just as a forest is not a single tree, this issue could not be my monologue. A shared ecosystem means that I brought in voices, eyes, and hands from my community such as other artists, thinkers, elders, young queer folk, to shape what you see. I am not interested in a singular curatorial authority. The process is one of dialogue, of intending, of passing the gaze around. I ask: “What does environment mean to you, sister, from Soweto, from Kwa-Thema, from the rural Eastern Cape? How do you photograph your relationship with water? With fire?” The issue will grow like a food garden tended by many. Even the images I will not take, I will nurture. The contributors are not just‘submitting’ work; they are co-creating a visual statement on what the environment is, and it includes the bedroom, the taxi rank, the protest, the ritual. That is ecosystem: interdependence, mutual care, and the understanding that my survival is in your seeing.",[],{"_key":1297,"_type":321,"children":1298,"markDefs":1303,"style":821},"e4083128c2f1",[1299],{"_key":1300,"_type":325,"marks":1301,"text":1302},"8589384949590",[],"IS: How are you hoping to challenge and expand the audience's limited definition of what \"the environment\" actually is?",[],{"_key":1305,"_type":321,"children":1306,"markDefs":1311,"style":329},"738797db02fc",[1307],{"_key":1308,"_type":325,"marks":1309,"text":1310},"59dd0eff0de40",[],"ZM: I want the audience to choke on their own limited definitions. For too long, environment has meant a pretty sunset, a pristine beach, a rhino in a game reserve – images made for a white, wealthy gaze that separates nature from people, especially Black people. I want them to see environment as the shack settlement where a queer family shares one tap; as the mine dump looming behind a township; as the polluted river where a trans woman bathes because there is no safe water. Environment is the body of a lesbian who has survived rape and still rises. Environment is the air we breathe in a shebeen, in a church, in a pride march tear-gassed by police. I want the audience to feel uncomfortable with their own nostalgia for ‘wilderness’ and confront the political ecology of our lives. The city is environment. The wound is environment. The embrace is environment. You cannot protect the planet without protecting the most marginalised bodies on it. I want the open call to bring me images that shatter the brackets, that show the earth bleeding where we bleed, and dancing where we dance.",[],{"_key":1313,"_type":321,"children":1314,"markDefs":1319,"style":821},"cedbc79b5109",[1315],{"_key":1316,"_type":325,"marks":1317,"text":1318},"4994a988d2850",[],"IS: This issue explicitly sets out to break brackets, between the Global South and North, between ages, and between disciplines. What does it look like in practice? What practices are you thirst for seeing from this open call?",[],{"_key":1321,"_type":321,"children":1322,"markDefs":1327,"style":329},"cb25ca10c62f",[1323],{"_key":1324,"_type":325,"marks":1325,"text":1326},"e4ac82f360fa0",[],"ZM: In practice, breaking brackets means we do not privilege the MFA graduate from a European academy over the grandmother in Limpopo who has been photographing her community’s rituals with a cellphone for twenty years. Is not a hierarchy. I want the open call to receive images from seventy-year-old intersex activists and a fifteen-year-old non-binary dreamer, side by side, each teaching the other. Breaking the North-South bracket means refusing the idea that theory comes from the North and experience from the South. We are producing knowledge here, on the ground, with our feet in the soil. Disciplines: I want the poets to send photographs, the farmers to send sonic pieces, the sex workers to send collages. I want the boundaries of photography to bleed into performance, into agriculture, into ancestral practice. What I thirst for is work that smells of life, not of the sterile gallery. I want to see images where you cannot tell where the body ends and the land begins. I want portraits of lovers in a cabbage patch, a funeral by the freeway, the joy of a drag queen in a community hall that has no running water. I want visual honesty that refuses the colonial eye. I want to see the environment as you live it… urgent, messy, sacred, and ours.",[],"2026-05-28T17:37:09.546Z",{"_type":8,"asset":1330},{"_ref":1028,"_type":11},"greif-alumni-reimagining-at-this-year-s-photoespana",{"_type":1333,"description":1334},"seo.noImage","Behind Der Greif upcoming issue 19 with guest-editor Zanele Muholi, renowned visual activist. The issue is supported by Alexander Tutsek-Stiftung.",{"_type":385,"current":971}," “I am because of you, Mother Earth”: Zanele Muholi’s call for images and texts where “you cannot tell where the body ends and the land begins”",{},1780669403752]