{"id":29197,"date":"2024-06-10T15:44:55","date_gmt":"2024-06-10T13:44:55","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/how-pamela-anderson-and-my-camera-made-me-look-at-women-who-have-plastic-surgery\/"},"modified":"2025-02-13T13:34:47","modified_gmt":"2025-02-13T12:34:47","slug":"how-pamela-anderson-and-my-camera-made-me-look-at-women-who-have-plastic-surgery","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/how-pamela-anderson-and-my-camera-made-me-look-at-women-who-have-plastic-surgery\/","title":{"rendered":"HOW PAMELA ANDERSON AND MY CAMERA MADE ME LOOK AT WOMEN WHO HAVE PLASTIC SURGERY."},"content":{"rendered":"\n
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HOW PAMELA ANDERSON AND MY CAMERA MADE ME LOOK AT WOMEN WHO HAVE PLASTIC SURGERY.<\/h1>\n\n\n\n

Nina Gazaniol V\u00e9rit\u00e9<\/h2>\n\n\n\n

Video<\/p>\n<\/div>\n\n\n\n

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In Marseille, inspired by Pamela Anderson, Nina Gazaniol V\u00e9rit\u00e9 embarked on a film adventure alongside several women who have resorted to cosmetic surgery and medicine. By questioning the trivialization of this practice, as well as notions of norms and deviance, she questions her own relationship with the feminine. This film is the sharing of a deconstruction, but perhaps also a story of lies and violence, blood and beauty, power and self-assertion.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u00a9 Nina Gazaniol V\u00e9rit\u00e9<\/figcaption><\/figure>\n\n\n\n
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\u00a9 Nina Gazaniol V\u00e9rit\u00e9<\/figcaption><\/figure>\n\n\n\n
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\u00a9 Nina Gazaniol V\u00e9rit\u00e9<\/figcaption><\/figure>\n\n\n\n
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\u00a9 Nina Gazaniol V\u00e9rit\u00e9<\/figcaption><\/figure>\n\n\n\n
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\u00a9 Nina Gazaniol V\u00e9rit\u00e9<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Artists<\/h4>\n\n\n
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Nina Gazaniol V\u00e9rit\u00e9 (FR)<\/a><\/h2>\n
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With a degree in Performing Arts and Journalism, she studied the hijacking of television through performance art in the dissertation \u201cDon’t hate the Media, Be the media\u201d, interned at ARTE and approached experimental cinema while getting involved in multiple cross-disciplinary projects. In 2013, she joined the Formation sup\u00e9rieure pour la cr\u00e9ation en espace public (FAI AR \/ Marseille), where she developed her interest in architecture, territories, notions of space and inhabitants. Since 2015, she has been imagining various projects while cultivating a valuable relationship with research and writing. She regularly collaborates with different groups and artists while pursuing her own work at the crossroads of video and spatial arts, performance and documentary, questioning a plastic writing rooted in reality. And vice versa. Since 2023, she has been accompanied and supported by Parall\u00e8le, Pratiques artistiques \u00e9mergentes internationales (Marseille).<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div><\/div>\n\n\n\n

Credits and mentions<\/p>\n\n\n\n

Production: association tropacool.
Coproduction: CHRONIQUES Biennale des Imaginaires Num\u00e9riques, Parall\u00e8le, pratiques artistiques \u00e9mergentes internationales, le 3 bis f – Centre d’arts contemporains d’int\u00e9r\u00eat national.
Support and partners: GMEM – national center for musical creation.
As part of CHRONIQUES creations with the support of DRAC Provence-Alpes-C\u00f4tes d’Azur, R\u00e9gion Sud and the city of Marseille<\/p>\n\n\n\n

Nina Gazaniol V\u00e9rit\u00e9: Concept, writing, video
Marion Vincent: writing, dramaturgy
\u00c9lie Peyssard: sound recording
Matthieu Fuentes: sound creation, sound post-production
Ingrid Rivet – On va vers le beau: administration, social management
Parall\u00e8le: support for production and distribution<\/p>\n","protected":false},"featured_media":27683,"menu_order":0,"template":"","edition":[116],"type_oeuvre":[28,25,117],"class_list":["post-29197","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/29197","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/27683"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=29197"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=29197"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=29197"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}