My Father's Legs | Shortlisted Project - PHmuseum 2020 Photographers Grant - PHmuseum

My Father's Legs

My Father's Legs

Daily Life, Studio, Documentary
{"id":30722,"grant_id":14,"user_id":33479,"grant_submission_status_id":4,"grant_result_type_id":null,"cover_block_id":335937,"story_id":23631,"place_id":null,"title":"My Father's Legs","excerpt":"<p>Everything has started with my mother telling me that she fell in love with my father because of his beautiful legs. His obsession with tennis became mine. I\u2019m photographing obsessively my partner\u2019s legs in different tennis positions in our daily life mixed between concept art and art-as-therapy.<\/p>","excerpt_raw":"Everything has started with my mother telling me that she fell in love with my father because of his beautiful legs. His obsession with tennis became mine. I\u2019m photographing obsessively my partner\u2019s legs in different tennis positions in our daily life mixed between concept art and art-as-therapy.","body":"<p>Everything has started with my mother telling me that she fell in love with my father because of his beautiful legs. His obsession with tennis became mine. I\u2019m photographing obsessively my partner\u2019s legs in different tennis positions in our daily life mixed between concept art and art-as-therapy.\r<\/p><p>_____\r<\/p><p>The works gathered at the Sara Perovi\u0107\u2019s solo exhibition My Father\u2019s Legs are two interconnected groups of photographs evolving as series depicting details of male legs or entire bodies in different tennis playing poses. In the photographic representation we identify older, found family archive photos and original new contemporary photos, portraying interrelations between time, motif and context. Evolving around the found family photos of artist Sara Perovi\u0107\u2019s father playing tennis, the new photos repeat, i.e. in a directorial setting of sorts, re-enact and reproduce the leg position of the older photographic model, creating visual correlations between the past and the present. In a clash between the old and the new, between archive image, memory and a recent scene, photography frames the central male legs motif as a scene repeating in a series of repetitions and variations and, aside from photography, it manifests itself in different media, such as an artist\u2019s book browsed as a flip-book or a video of the piece in which animation and editing particularly highlight motion and repetition.\r<\/p><p>Since the 70s, the feminist theory and practice, before all focused on film theory, started to deconstruct the viewing strategies. The viewing positions questioned the voyeurist and fetishist views which separated the subject and the object. The breakup of traditional binary oppositions between male and female, active and passive, brought changes in the traditional positions of power that used to be on the observer\u2019s side, defined as male, while the observed object was defined female. Feminist discourses tried to point out that the body, perceived as an image and represented statically (photograph) and in moving pictures (film and video), was an iconic field subject to a male gaze.\r<\/p><p>Sara Perovi\u0107\u2019s photographic exploration creates visual parallels in which the artist juxtaposes her father\u2019s found photos and contemporary artistic photos of her partner she made herself, overturning thus the dominant convention of the subject-object relationship, the observer vs. the observed, the watching regime convention in which the gaze is traditionally perceived as the male subject and the female body is considered the object. In the photographs this norm is destabilised and Sara\u2019s play with codes and conventions of representation, humour and casualness point to the objectification of the male body before the female gaze. What our gaze additionally discloses in the background, juxtaposing the archival and the contemporary photo, is atmosphere and genre, strictness of professional athletic photography from a tennis textbook against the abstract white background, juxtaposed with the daily life of the home scene of a man in sports socks mainly indoors, a scene we recognise as the intimate atmosphere of home.\r<\/p><p>Sara Perovi\u0107\u2019s photographic project My Father\u2019s Legs can be seen from several points of view, from the autobiographical, personal angle of an artist focusing on memory inscribed in a private photo album, as a feminist deconstruction of the dominant gaze, and as genius loci, observing the context of a broader social image interwoven with the tennis playing thread in Pula in the eighties. Tennis playing from the Perovi\u0107 family biography is part of the city\u2019s social history and the memory of many citizens of Pula.\r<\/p><p>(Except from the text by Branka Ben\u010di\u0107 about the exhibition in Apoteka - Space for Contemporary Art, Vodnjan,August 2020) \r<\/p><p>This project was published in April 2020 by J&L Books.\r<\/p><p>Curated and designed by Jason Fulford.<\/p>","body_raw":"Everything has started with my mother telling me that she fell in love with my father because of his beautiful legs. His obsession with tennis became mine. I\u2019m photographing obsessively my partner\u2019s legs in different tennis positions in our daily life mixed between concept art and art-as-therapy.\r\n_____\r\n\r\nThe works gathered at the Sara Perovi\u0107\u2019s solo exhibition My Father\u2019s Legs are two interconnected groups of photographs evolving as series depicting details of male legs or entire bodies in different tennis playing poses. In the photographic representation we identify older, found family archive photos and original new contemporary photos, portraying interrelations between time, motif and context. Evolving around the found family photos of artist Sara Perovi\u0107\u2019s father playing tennis, the new photos repeat, i.e. in a directorial setting of sorts, re-enact and reproduce the leg position of the older photographic model, creating visual correlations between the past and the present. In a clash between the old and the new, between archive image, memory and a recent scene, photography frames the central male legs motif as a scene repeating in a series of repetitions and variations and, aside from photography, it manifests itself in different media, such as an artist\u2019s book browsed as a flip-book or a video of the piece in which animation and editing particularly highlight motion and repetition.\r\nSince the 70s, the feminist theory and practice, before all focused on film theory, started to deconstruct the viewing strategies. The viewing positions questioned the voyeurist and fetishist views which separated the subject and the object. The breakup of traditional binary oppositions between male and female, active and passive, brought changes in the traditional positions of power that used to be on the observer\u2019s side, defined as male, while the observed object was defined female. Feminist discourses tried to point out that the body, perceived as an image and represented statically (photograph) and in moving pictures (film and video), was an iconic field subject to a male gaze.\r\nSara Perovi\u0107\u2019s photographic exploration creates visual parallels in which the artist juxtaposes her father\u2019s found photos and contemporary artistic photos of her partner she made herself, overturning thus the dominant convention of the subject-object relationship, the observer vs. the observed, the watching regime convention in which the gaze is traditionally perceived as the male subject and the female body is considered the object. In the photographs this norm is destabilised and Sara\u2019s play with codes and conventions of representation, humour and casualness point to the objectification of the male body before the female gaze. What our gaze additionally discloses in the background, juxtaposing the archival and the contemporary photo, is atmosphere and genre, strictness of professional athletic photography from a tennis textbook against the abstract white background, juxtaposed with the daily life of the home scene of a man in sports socks mainly indoors, a scene we recognise as the intimate atmosphere of home.\r\nSara Perovi\u0107\u2019s photographic project My Father\u2019s Legs can be seen from several points of view, from the autobiographical, personal angle of an artist focusing on memory inscribed in a private photo album, as a feminist deconstruction of the dominant gaze, and as genius loci, observing the context of a broader social image interwoven with the tennis playing thread in Pula in the eighties. Tennis playing from the Perovi\u0107 family biography is part of the city\u2019s social history and the memory of many citizens of Pula.\r\n(Except from the text by Branka Ben\u010di\u0107 about the exhibition in Apoteka - Space for Contemporary Art, Vodnjan,August 2020) \r\nThis project was published in April 2020 by J&L Books.\r\nCurated and designed by Jason Fulford.","social_approval":1,"is_shortlisted":1,"is_other":0,"is_good":0,"is_strong":0,"is_ongoing":0,"is_unpublished":1,"sent_first_email_reminder":0,"awaiting_payment":1,"has_started_payment":0,"has_started_paypal_payment":0,"is_public":0,"media_ok":0,"has_tracked":1,"amount_paid":20,"original_price":0,"external_id":null,"payment_id":"I1-30722","session_id":null,"token":null,"grant_order_id":11349,"submitted_at":"2020-12-02T08:48:41.000000Z","affiliate_id":null,"is_forced_public":1,"address_1":null,"city":null,"region":null,"country":null,"postcode":null,"codice_fiscale":null,"started_at":"2017-01-01T00:00:00.000000Z","ended_at":"2020-01-01T00:00:00.000000Z","created_at":"2020-12-02T08:38:22.000000Z","updated_at":"2020-12-02T10:37:09.000000Z","place":null,"publications":[],"categories":[{"id":3,"name":"Daily 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