We are pleased to present an exhibition featuring works by Beatrice Favaretto and Marco Siciliano,
bringing together video art and installation to explore the intersection of sexuality and the political
body. The exhibition investigates how intimacy, vulnerability, and corporeal experience can operate
as both personal expression and social critique, highlighting the ways in which bodies negotiate
visibility, power, and agency.
Favaretto’s Multiple Maniacs (2023) unfolds as a meditation on touch, skin, and bodily
communication. Collaborating with disability-rights activist Maximiliano Ulivieri, Favaretto
presents the body as a site of memory, sensation, and affective exchange. In the central video,
Ulivieri lies on a steel table, his “lonely parts” , areas where his disability is most visible,
highlighted and tenderly traced by the camera. Favaretto herself intermittently appears under the
same surreal red light, exposing her own vulnerability and creating a shared space of intimacy. The
camera functions as an affective prosthesis, an extension of touch that transforms the act of looking
into one of relational and political engagement. Favaretto’s work situates post-pornographic
strategies within a feminist and queer framework, using the cinematic gesture of the caress to
rethink sexual representation beyond normative and ableist paradigms.
Siciliano’s Marcelle (2024) approaches these themes from a complementary perspective.
Reconstructing a wardrobe in reverse, the installation positions viewers inside the closet, where
light, sound, and water limit perception to a filtered and intimate view. Drawing on Georges
Bataille’s Histoire de l’œil (1928), the work follows the character Marcelle, who retreats to the
wardrobe during an orgy, an act of apparent shame that is reinterpreted as one of agency and self-
determination. The enclosed architectural space transforms notions of privacy and exposure,
revealing how intimacy and desire intersect with social norms, control, and personal empowerment.
Complementing these works, a sound installation by artist Daniele Di Girolamo extends the
exhibition into the realm of tactile listening. The work transforms sound into vibration, allowing
visitors to perceive resonance through the skin rather than the ear. Composed of subtle breaths,
bodily rhythms, and surface tremors, the work translates the affective charge of shame into physical
sensation, an acoustic touch that oscillates between intimacy and exposure.
Together, Favaretto, Siciliano and Di Girolamo create a dialogue between the body and its
political, sexual, and architectural contexts. Favaretto emphasizes corporeal exchange and affective
presence, Siciliano investigates spatial withdrawal and the power dynamics of visibility and
Daniele Di Girolamo’s sound installation remarks the relevance of our bodily perception of reality
through the interplay of senses. All works challenge the viewer to consider the body not merely as
an object of observation, but as an active site where intimacy, agency, and politics intertwine.
Through video and installation, the exhibition foregrounds the body as a terrain of resistance,
pleasure, and self-determination, making the personal profoundly political.