The origin is social, the finality is artistic, and the intention is revolutionary.
Born in 2000 and living in Paris, Zoé Bernardi uses her body and life as tools to apprehend others. As a living antenna, she hosts people's experiences, while trying to shape them; as the artist and director Pippo Delbono says, "Everything enters me, perfores me".
By using narration as a potential of fiction, Zoé Bernardi plays with the limit between reality and fiction. The question of what remains of identity in front of the forgotten is key in her work, remaining into question the transition between public life and intimacy, control and vulnerability, face to visage, inspiring herself in her family, the BDSM, Levinas's philosophy, Paul Ricoeur, the concept of post-memory, Jonas Mekas or Rineke Djikstra... The issue is to confront kitsch to flesh to stresses, by contrast, the colossal stakes.Because it allows an analytic distanciation, the protocol is fondamental.
"The novel is not an author’s confession but an exploration of what human life is in a trapped world" , Milan Kundera, The art of the novel.
Common wisdom is that photographing is a way of not forgetting, but this is about the future that Zoé Bernardi wants to talk about. The situations staged turn into self-fulfilling prophecies that claim the end of our spectacular society. Thus she frequently ends up naked, performing, photographing or filming complete strangers, modelate their burning intimacy, whether it's about sickness, sex, courage or cowardness, success or failure. By confronting herself to others, she commits to a relationship beyond words, a politic, artistic and human relationship.