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Giulia Crispiani

The works made by Giulia Crispiani for LOOK AT ME are a further articulation of her research on body and language. Gustosa is a text that mixes letters and sounds with physical anatomy, gestures, the tongue, here intended in the ambivalent function of physical organ as well as phonic instrument. Gustosa is a declaration of love, the description of a liquid, pure and morphological embrace.

An excerpt from the text unfolds on the screens, the letters regain central importance here again, the roundness of the sounds unravel in the caresses described.

In the private room, Giulia's voice, accompanied by the muffled soundscape of Federico Antonini, recites these lines in cadence: almost severe, extremely serious in the full and conscious acceptance of the senses. The neon work 'Saliva' finally takes up this morphological synaesthesia in a simple and straightforward way, also explicitly aesthetic, closing the whole of Giulia’s artworks in a unicum that is body and word.

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Michele Rizzo

Michele Rizzo's performance reflects on two fundamental aspects of a place like the strip club: the gaze and the action of undressing.

Undressing is considered here as an act of research, which transcends clothing and surfaces to focus around the person. Centered on the stripper Luna, the performance turns to a reinterpretation of the gaze, which is no longer that of others on her, but is HERS. She re-takes possession of it by turning it towards herself, in a work that reflects on movement and repetition as matrices of identitarian rediscovery, of intrinsic recognition, in a process between control and loss: paradoxically, abandonment can only be reached through work, concentration, introspection. 

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Flaminia Veronesi

Touching multiple corners of the Luxy Club, Flaminia Veronesi's works reflect on the importance and undeniable omnipresence of eros, claiming the freedom with which it should be expressed, also and above all by the female body, not only in marginal contexts.

By painting them on paper, the strippers of the Luxy club transform themselves from the stage, to the sheet of paper, to the wall with and through Flaminia, who portrays them in a frank reciprocity of glances, in an action that takes place in front of the spectators, fully involved in this metamorphosis. 

Flaminia responds to the erotic expression with an artistic one, both seen here as sides of the same coin, in a vision of eros that is aesthetic because it is intrinsic, free, wild: like the sirens in cages, mythological symbols of a dangerous sensuality, the animal eros is here the archetype of a world where sensual freedom moves in front of us, single in the multitude, passing from body to other bodies, free in its lightness.