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riprendiamoci la vita

Aggiornamento: 17 feb 2022


riprendiamoci la vita is a photo book Paola Agosti  protest in Italy 1968-1976

Title: riprendiamoci la vita

Photographer(s): Paola Agosti

Writer(s): Silvia Bordini,Rosalba Spagnoletti, Annalisa Usai

Designer(s): Giuliano Vittori

Publisher(s):Savelli editore, Roma, Italy

Year:1976

Print run:

Language(s): Italian

Pages:80

Size:29,7 x 21,4 cm

Binding:Softcover

Edition:

Print: Printed by Tipografia Savelli, Roma Italy

Nation(s) and year(s) of Protest: Italy, 1968-1976

ISBN:



riprendiamoci la vita is a photo book Paola Agosti  protest in Italy 1968-1976

riprendiamoci la vita is a photo book Paola Agosti  protest in Italy 1968-1976

riprendiamoci la vita is a photo book Paola Agosti  protest in Italy 1968-1976

riprendiamoci la vita is a photo book Paola Agosti  protest in Italy 1968-1976

riprendiamoci la vita is a photo book Paola Agosti  protest in Italy 1968-1976

riprendiamoci la vita is a photo book Paola Agosti  protest in Italy 1968-1976

riprendiamoci la vita is a photo book Paola Agosti  protest in Italy 1968-1976

riprendiamoci la vita is a photo book Paola Agosti  protest in Italy 1968-1976

riprendiamoci la vita is a photo book Paola Agosti  protest in Italy 1968-1976

riprendiamoci la vita is a photo book Paola Agosti  protest in Italy 1968-1976

riprendiamoci la vita is a photo book Paola Agosti  protest in Italy 1968-1976

A book of photographs of and about movement that still today radiate the sense of a world of conceiving and making images full of ethical and aesthetic tensions.

The book is a sort of collective self-portrait made up of fragments, speeches, illustrations, celebrations, documents, information, essentially visual and, to a lesser extent, verbal texts that speak of a different political practice, they indicate goals (family law, divorce, abortion, birth control, conscious motherhood) and also the quality of life ("we also want roses").

All women, each with the disenchantment of their own experience, can recognize themselves in these images which, in the awareness of the risks involved in an operation like this, want to reconstruct our history and document it.

I am reminded of a large table covered in black and white prints and the four of us discussing how and why to use them. Was it right to make this book? How to choose them, how to choose those images, which meant which ones to identify with and which ones to propose, advertise.

What image did we have of ourselves? And which ones did we feel appropriate to show? The photographs highlighted something of our reality but, it seemed to us, they immediately proposed themselves as interpretations, and were intertwined with a continuous shift between the aesthetic and the political, documentation and autobriography, the object and narcissism. We had to be sure we could expand our content.

From a text of Silvia Bordini published in - Il gesto femminista, Pub. Derive e Approdi- 2014

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