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Queerness is highly marketable, endlessly demonized, and constantly dissected, despite how many queer people, including myself, still move through the world calculating disclosure carefully to minimize risks to their safety. My lesbian-podcast-filled Instagram feed informs me that PornHub launched a sapphic site and that Hannah Einbinder was uncomfortable identifying as bisexual despite playing a bisexual television character. Do we have patience for ambiguity? I am constantly shown reels abandoning intersectionality, challenging bisexual legitimacy, pandering to queer dating hierarchies, and delineating who counts as sufficiently queer to speak about certain experiences. As my sister would say, \"This is seriously rage-baiting me right now.\"",[],{"_key":704,"_type":330,"children":705,"markDefs":710,"style":338},"24c7c460b39b",[706],{"_key":707,"_type":334,"marks":708,"text":709},"e548d7671b880",[],"“This is some pretty brutal stuff,” I glance at Jack with raised eyebrows; jokes fly between us wordlessly as we edge our way into a quieter part of the gallery. Clearly, the visitor was not experiencing the same goosebumps lifting across my forearms upon viewing Catherine Opie’s work in person for the first time. Queerness, when presented too directly, too visibly, or too materially, reads as confrontation before it registers as intimacy or social history. I spent the most time with Opie’s journalistic work; in one image, a woman holds a sign that reads, “BUTCHES are my hope for the PLANET.” I kept returning to the confidence of a practice that refuses to negotiate visibility for anyone else’s comfort.",[],{"_key":712,"_type":330,"children":713,"markDefs":717,"style":338},"de48f8643445",[714],{"_key":715,"_type":334,"marks":716,"text":701},"a5522beb7d72",[],[],{"_key":719,"_type":330,"children":720,"markDefs":734,"style":338},"e4f762c0221f",[721,725,730],{"_key":722,"_type":334,"marks":723,"text":724},"40b85d138920",[],"For Pride Month, I interviewed four photographers who are challenging what photography can do: Quetzal Maucci, Niamh Rogers, courtney coles, and ",{"_key":726,"_type":334,"marks":727,"text":729},"35daf5c494ca",[728],"f6641507eb48","Asafe Ghalib",{"_key":731,"_type":334,"marks":732,"text":733},"65a312271001",[],", who kindly sat down with me for interviews on their approach to representation.",[735],{"_key":728,"_type":736,"button":53,"newWindow":72,"url":737},"annotationLinkExternal","https://dergreif.org/search?result=Asafe+Ghalib",{"_key":739,"_type":330,"children":740,"markDefs":745,"style":338},"2840018ffb77",[741],{"_key":742,"_type":334,"marks":743,"text":744},"2f14788e8f730",[],"Asafe Ghalib offered one of the sharpest observations about contemporary queer representation: “A lot of representation still moves between two comfortable extremes: suffering that makes people feel compassionate, or beauty that becomes easy to consume.” Stoic suffering, so often reinforced by the aesthetics of medium-format photography, can quickly harden into expectation. Even anti-establishment queer imagery eventually becomes legible branding. As Jonathan Alexander ponders in his new book, “Damage: Notes on a Queer Aesthetic”(2026), is representing queer damage an act of love?",[],{"_key":747,"_type":330,"children":748,"markDefs":753,"style":338},"35afe93911ce",[749],{"_key":750,"_type":334,"marks":751,"text":752},"23b3cfbc5e88",[],"There is an ongoing accusation, often leveraged against me at dinner parties with straight people, that artists over-rely on identity to access opportunities, institutional support, or cultural relevance. This asinine criticism comes from people uncomfortable with marginalized communities speaking about their lives at all. I can detect a faint undercurrent of jealousy in the conversation. A frustration that identity has become culturally legible in ways their own experiences have not. A wish, perhaps, to be more interesting. What all four photographers reminded me, however, is that queer photography has emerged from necessity rather than opportunistic aims. Ghalib is interested in visibility's limits. Who gets represented? How? And according to whose visual rules?",[],{"_key":755,"_type":330,"children":756,"markDefs":761,"style":338},"8b45024076c8",[757],{"_key":758,"_type":334,"marks":759,"text":760},"d353ba07064b0",[],"His project “Under the Same Sun\" documents LGBTQIA+ communities across Cuba, Colombia, Venezuela, Chile, Brazil, Argentina, and Mexico while examining movement between hometowns and urban centers. His work is also currently the poster image for our Pride Month open call (https://site.picter.com/der-greif-queer-quintessential). Compellingly Ghalib refuses to reduce queer life to familiar narratives. “I am not interested in queerness as a fixed aesthetic,” Ghalib explains. Rather than treating queer people as symbols, they remain attentive to individuals who are, as he puts it, \"sometimes guarded, sometimes theatrical, sometimes tired, sometimes completely in control of how they want to be seen.\" Photography, he argues, can make people harder to erase, and returning the gaze to nuance feels quite radical in a culture obsessed with legibility.",[],{"_key":763,"_type":394,"modules":764},"336691c6b92b",[765,798,832,865,898,932,961,993],{"_key":766,"_type":398,"artist":183,"caption":767,"image":768,"size":498},"55e8dbca5ce4","Asafe Ghalib, \"Maxweber - São Paulo, Brazil\"",{"_type":8,"asset":769,"metadata":771,"title":183},{"_ref":770,"_type":11},"image-867aa7ec42a77ab8bde588afb024a08557650d75-4794x3704-jpg",{"_type":344,"blurHash":772,"dimensions":773,"hasAlpha":53,"isOpaque":72,"lqip":777,"palette":778,"thumbHash":797},"VDKT-w00PW^%~V?Z-:^+s.%L%GWZ4ntQRj^*D*RPWVNG",{"_type":347,"aspectRatio":774,"height":775,"width":776},1.2942764578833694,3704,4794,"data:image/jpeg;base64,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",{"_type":351,"darkMuted":779,"darkVibrant":782,"dominant":785,"lightMuted":786,"lightVibrant":789,"muted":792,"vibrant":795},{"_type":353,"background":780,"foreground":355,"population":781,"title":355},"#524028",1.56,{"_type":353,"background":783,"foreground":355,"population":784,"title":355},"#7b3e1d",6.44,{"_type":353,"background":783,"foreground":355,"population":784,"title":355},{"_type":353,"background":787,"foreground":362,"population":788,"title":355},"#cec3ac",4.68,{"_type":353,"background":790,"foreground":362,"population":791,"title":362},"#eec4a9",0.21,{"_type":353,"background":793,"foreground":355,"population":794,"title":355},"#a67c57",2.45,{"_type":353,"background":796,"foreground":355,"population":359,"title":355},"#c85424","IykOFYSAupqZioh5hZd2hwqJyHBm",{"_key":799,"_type":398,"artist":183,"caption":800,"image":801,"size":431},"eac60927ca5d","Asafe Ghalib, \"Ale - 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I’ll reference the words of courtney coles, an artist we will examine shortly: “I remember being immediately drawn to my professors and all the queer artists they taught and finding it so comforting when they'd announce that they were gay.” Rogers’ work avoids easy conclusions and, rather than providing answers, it sits with contradiction. Her images bear the visceral marks that ideology leaves on the psyche through internalized homophobia by representing them on the physical body. Rogers is drawn to experiences that remain unspoken because “if that conversation isn't happening, sometimes it's important to be the person who brings it to the table.”",[],{"_key":1307,"_type":330,"children":1308,"markDefs":1313,"style":338},"749dce76247f",[1309],{"_key":1310,"_type":334,"marks":1311,"text":1312},"55083325f8b20",[],"Rogers’ work avoids easy conclusions and, rather than providing answers, it sits with contradiction. Her images bear the visceral marks that ideology leaves on the psyche through internalized homophobia by representing them on the physical body. Rogers is drawn to experiences that remain unspoken because “if that conversation isn't happening, sometimes it's important to be the person who brings it to the table.”",[],{"_key":1315,"_type":330,"children":1316,"markDefs":1321,"style":338},"6beee9fe6580",[1317],{"_key":1318,"_type":334,"marks":1319,"text":1320},"ee3808f6b6af",[],"\nRogers’ work avoids easy conclusions and, rather than providing answers, it sits with contradiction. Her images bear the visceral marks that ideology leaves on the psyche through internalized homophobia by representing them on the physical body. Rogers is drawn to experiences that remain unspoken because “if that conversation isn't happening, sometimes it's important to be the person who brings it to the table.”\n",[],{"_key":1323,"_type":394,"modules":1324},"d26b208ff913",[1325,1355,1385,1415,1445,1477,1507],{"_key":1326,"_type":398,"artist":183,"caption":1327,"image":1328,"size":431},"504f54dab5b8","Niamh Rogers, \"Chest of God\", 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Ghalib approaches this question from a slightly different angle. While Rogers is interested in visibility as recognition, Ghalib is interested in visibility's limits. Who gets represented? How? And according to whose visual rules? His project \"Under the Same Sun\" documents LGBTQIA+ communities across Cuba, Colombia, Venezuela, Chile, Brazil, Argentina, and Mexico while examining movement between hometowns and urban centers. His work is also currently the poster image for our ",{"_key":1546,"_type":334,"marks":1547,"text":1549},"e0b664a066a7",[1548],"68c2d22ca0de","Pride Month open call",{"_key":1551,"_type":334,"marks":1552,"text":1553},"9f065d15dc96",[],". Compellingly, Ghalib refuses to reduce queer life to familiar narratives. “I am not interested in queerness as a fixed aesthetic,” Ghalib explains. Rather than treating queer people as symbols, they remain attentive to individuals who are, as he puts it, \"sometimes guarded, sometimes theatrical, sometimes tired, sometimes completely in control of how they want to be seen.\" Photography, he argues, can make people harder to erase, and returning the gaze to nuance feels quite radical in a culture obsessed with legibility.",[1555],{"_key":1548,"_type":736,"button":53,"newWindow":72,"url":1556},"https://site.picter.com/der-greif-queer-quintessential",{"_key":1558,"_type":330,"children":1559,"markDefs":1564,"style":338},"7bd42bf3cfbe",[1560],{"_key":1561,"_type":334,"marks":1562,"text":1563},"c3335fd5040d",[],"courtney coles pushes this conversation closer to the idea of the photographic as therapeutic. As a Black-American Leatherdyke, she describes everything she makes as a love letter. The people in her photographs are not anonymous subjects but friends, former lovers, and chosen family. Photography becomes less a tool of representation than what she calls a \"sacred energy exchange.\" When I asked about photography's role today, her answer was refreshingly unsentimental: \"Everything about photography is a lie. There is always more to be seen outside of the frame, and we as photographers are the most beautiful liars.\"",[],{"_key":1566,"_type":330,"children":1567,"markDefs":1572,"style":338},"663b4fd035af",[1568],{"_key":1569,"_type":334,"marks":1570,"text":1571},"2ea94086aa120",[],"Yet coles remains invested in photography's ability to preserve what might otherwise disappear from view. Reflecting on the AIDS crisis, she notes that an entire generation of queer elders was lost through negligence and homophobia. \"In the event something like that were to ever happen again,\" she writes, \"I wish for our full lives to be represented in the books, museums, galleries and schools.\" Her response is deceptively simple: photograph more. \"Queer love, loss, accomplishments, history needs to be memorialized.\" Long before institutions acknowledged queer archives, queer people were already documenting one another. At protests, in bedrooms, at parties, and at family dinners. Photograph yourself and each other. Participate in our desperate, hopeful act!",[],{"_key":1574,"_type":394,"modules":1575},"e71861a4e9ba",[1576,1607,1638,1667,1698,1728,1760,1788],{"_key":1577,"_type":398,"artist":183,"caption":1578,"image":1579,"size":498},"30e059ad9f53","courtney coles, \"chain\", 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",{"_type":8,"asset":2231,"metadata":2233,"title":183},{"_ref":2232,"_type":11},"image-e195c1ab93781b6307ad9c53616e81aa58efb0b8-4961x3309-jpg",{"_type":344,"blurHash":2234,"dimensions":2235,"hasAlpha":53,"isOpaque":72,"lqip":2239,"palette":2240,"thumbHash":2255},"VEGl6Y-;%0%2oy~Wof%MRjIo4mofs;Rjt7-;fPRPM|of",{"_type":347,"aspectRatio":2236,"height":2237,"width":2238},1.4992444847385917,3309,4961,"data:image/jpeg;base64,/9j/2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj/2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj/wAARCAANABQDASIAAhEBAxEB/8QAGAAAAwEBAAAAAAAAAAAAAAAAAAYHAwX/xAAfEAACAQQDAQEAAAAAAAAAAAABAgMABAURBhIhQVH/xAAUAQEAAAAAAAAAAAAAAAAAAAAC/8QAFxEAAwEAAAAAAAAAAAAAAAAAAAEhEf/aAAwDAQACEQMRAD8AY8i7Rxq0KiXYO1B9Fciys2klaaU9FJJI/KUOUcqvsTkQluFII97Vnf8ALchPikEZWLZ22ve1FNYOlChchNSOoO/NH5RUvt+aXqxANDExH32ihBU//9k=",{"_type":351,"darkMuted":2241,"darkVibrant":2244,"dominant":2246,"lightMuted":2247,"lightVibrant":2249,"muted":2251,"vibrant":2253},{"_type":353,"background":2242,"foreground":355,"population":2243,"title":355},"#513434",2.74,{"_type":353,"background":2245,"foreground":355,"population":859,"title":355},"#1d6faa",{"_type":353,"background":2242,"foreground":355,"population":2243,"title":355},{"_type":353,"background":2248,"foreground":362,"population":461,"title":355},"#acbcd2",{"_type":353,"background":2250,"foreground":362,"population":359,"title":355},"#8fd3e9",{"_type":353,"background":2252,"foreground":355,"population":420,"title":355},"#897d74",{"_type":353,"background":2254,"foreground":355,"population":448,"title":355},"#28a8d2","IQgGDYCamYd/aYWAeMlndsaHb8/4",{"_key":2257,"_type":126,"body":2258},"b7078eb4600d",[2259,2267,2275,2283,2291,2299,2308,2316,2324,2332,2340,2348,2356,2364,2372,2380,2388,2396,2404,2434,2442],{"_key":2260,"_type":330,"children":2261,"markDefs":2266,"style":694},"f728c69c1611",[2262],{"_key":2263,"_type":334,"marks":2264,"text":2265},"5874fb41fc960",[],"Eva Rivas Bao discusses her work exposing the violence faced by Imane Fadil during the Berlusconi era",[],{"_key":2268,"_type":330,"children":2269,"markDefs":2274,"style":338},"c0653cf8e44b",[2270],{"_key":2271,"_type":334,"marks":2272,"text":2273},"c4f2577ffa4a0",[],"Images that circulate widely on social media play a decisive role in shaping how social and political realities are produced, perceived, and contested. 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":2276,"_type":330,"children":2277,"markDefs":2282,"style":338},"68e68f2c552d",[2278],{"_key":2279,"_type":334,"marks":2280,"text":2281},"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":2284,"_type":330,"children":2285,"markDefs":2290,"style":338},"5b923b6b55e8",[2286],{"_key":2287,"_type":334,"marks":2288,"text":2289},"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":2292,"_type":330,"children":2293,"markDefs":2298,"style":338},"130f19d7a2b1",[2294],{"_key":2295,"_type":334,"marks":2296,"text":2297},"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":2300,"_type":330,"children":2301,"markDefs":2306,"style":2307},"eb4e1265d894",[2302],{"_key":2303,"_type":334,"marks":2304,"text":2305},"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":2309,"_type":330,"children":2310,"markDefs":2315,"style":338},"5b4912ff1cfd",[2311],{"_key":2312,"_type":334,"marks":2313,"text":2314},"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":2317,"_type":330,"children":2318,"markDefs":2323,"style":2307},"6f9b4b9cc300",[2319],{"_key":2320,"_type":334,"marks":2321,"text":2322},"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":2325,"_type":330,"children":2326,"markDefs":2331,"style":338},"a35bc91a612f",[2327],{"_key":2328,"_type":334,"marks":2329,"text":2330},"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":2333,"_type":330,"children":2334,"markDefs":2339,"style":338},"c668f0ca741d",[2335],{"_key":2336,"_type":334,"marks":2337,"text":2338},"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":2341,"_type":330,"children":2342,"markDefs":2347,"style":2307},"93b44d900d8a",[2343],{"_key":2344,"_type":334,"marks":2345,"text":2346},"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":2349,"_type":330,"children":2350,"markDefs":2355,"style":338},"5e15af6e1ae5",[2351],{"_key":2352,"_type":334,"marks":2353,"text":2354},"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":2357,"_type":330,"children":2358,"markDefs":2363,"style":338},"ca4ecb928b6a",[2359],{"_key":2360,"_type":334,"marks":2361,"text":2362},"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":2365,"_type":330,"children":2366,"markDefs":2371,"style":2307},"1e1ec23fdbcc",[2367],{"_key":2368,"_type":334,"marks":2369,"text":2370},"2225414259980",[],"IS: Are there specifically Italian terms or concepts – such as ‘trasformismo’ or ‘velinismo’ – that you tried to ‘translate’ into visual prompts?",[],{"_key":2373,"_type":330,"children":2374,"markDefs":2379,"style":338},"787255ecb794",[2375],{"_key":2376,"_type":334,"marks":2377,"text":2378},"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":2381,"_type":330,"children":2382,"markDefs":2387,"style":2307},"2b2401856cb5",[2383],{"_key":2384,"_type":334,"marks":2385,"text":2386},"d4a13e0810110",[],"IS: What kind of reception has your project received within the Italian context?",[],{"_key":2389,"_type":330,"children":2390,"markDefs":2395,"style":338},"5ecd05dcdd1b",[2391],{"_key":2392,"_type":334,"marks":2393,"text":2394},"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":2397,"_type":330,"children":2398,"markDefs":2403,"style":2307},"bf31551d8186",[2399],{"_key":2400,"_type":334,"marks":2401,"text":2402},"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":2405,"_type":330,"children":2406,"markDefs":2429,"style":338},"a07d1f348ba1",[2407,2411,2416,2420,2425],{"_key":2408,"_type":334,"marks":2409,"text":2410},"e6c5ff6ae8350",[],"ERB: The project was initially conceived as a book during ",{"_key":2412,"_type":334,"marks":2413,"text":2415},"6d79e145d3ab",[2414],"bfb120871903","Bruno Ceschel",{"_key":2417,"_type":334,"marks":2418,"text":2419},"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":2421,"_type":334,"marks":2422,"text":2424},"0973eb960aa1",[2423],"0c0e1c437826","Skinnerboox",{"_key":2426,"_type":334,"marks":2427,"text":2428},"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.",[2430,2432],{"_key":2414,"_type":736,"button":53,"newWindow":72,"url":2431},"https://dergreif.org/search?result=Bruno+Ceschel",{"_key":2423,"_type":736,"button":53,"newWindow":72,"url":2433},"https://www.skinnerboox.com/books/unastoriaitaliana",{"_key":2435,"_type":330,"children":2436,"markDefs":2441,"style":338},"80fa0973787f",[2437],{"_key":2438,"_type":334,"marks":2439,"text":2440},"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":2443,"_type":330,"children":2444,"markDefs":2449,"style":338},"5952d39d0324",[2445],{"_key":2446,"_type":334,"marks":2447,"text":2448},"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",{"_type":8,"asset":2452},{"_ref":1908,"_type":11},"i-am-because-of-you-mother-earth-zanele-muholi-s-call-for-images-and-texts",{"_type":2455,"description":2456},"seo.noImage","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":387,"current":1833},"Eva Rivas Bao reconstructs Italy's failed #MeToo from within the Berlusconi era mediascape",{},1781258501784]