L'album dei Faccioni è stato realizzato in occasione della mostra Faccioni al Centro Luigi Di Sarro a Roma, dal 16 giugno al 9 luglio 2016, insieme a Giovanni Gigante e Fratelli Walter. Testi di Roberto Gramiccia, Katie Hornstein, Lella Mascio, Lucio Spaziante, Jonathan Mullins. Produzione: David Lewis. Stampato da Cartolinea MAF a Salerno.
The album of Faccioni has been made for the exhibition Faccioni at Centro Luigi Di Sarro in Rome, from the 16th of june till the 9th of july 2016, together with Giovanni Giante and Fratelli Walter. Writings in italian language of Roberto Gramiccia, Katie Hornstein, Lella Mascio, Lucio Spaziante, Jonathan Mullins. Production: David Lewis. Printed by Cartolinea MAF in Salerno.
Katie Hornstein's text is available in english:
Anonymous, punctured faces without bodies stare down their viewers. Their gazes are directed, slanted and cut-out by the interventions of Eva Macali’s tools. No men number among them; Macali’s attentions are uniquely and critically focused on the women who inhabit our mass cultural landscape. Who are these faces? Where do they hail from? Macali works with discarded billboard posters that she receives through unofficial channels; these images would otherwise be discarded back into the dustbin of advertising history, never seen again.
This is of course the way that the advertisers want it to be: the entire desire game of advertising depends on the constant production of the new and the sublimation of the has-been. These female bodies are produced, reproduced and displayed on billboards to entice us to consume the products that they sell. Macali’s artistic practice disrupts and challenges the standard rhythms of advertising that depend on the bodies of women to create the circuit of looking, desiring and consuming.
By using the dominant capitalist form of advertising as her medium, Macali’s faccioni take part in a longstanding tradition of making the familiar strange through techniques of appropriation, collage and cut-out. Like Hannah Höch’s photomontages of the 1930s, these faccioni use the materials of mass culture as a way to stake out a critical position from within its confines. In their decontextualized state, these faccioni are liberated from their duties as anonymous saleswomen and take on new life as works of art.
Since these faces are no longer selling us anything, we have no choice but to see these anonymous women on their own terms, as objects of aesthetic contemplation. But what are the terms of this encounter? Macali goes directly to the source of their seductive gaze, the eyes. It is usually from the eyes that she makes her calculated cuts; parts of pupils are removed, rendering these faccioni incomplete, but not powerless. The incisions cut through their faces and into the source of their scopic power.
The result is a new way to see these women as subjects who have the power to look apart from their (former) status as advertisements. This process of physical subtraction emphasizes the directedness of their gazes and instills in them a physical and directional presence. But this presence of a directed gaze is also quite literally a punctured absence. Their new power to look therefore comes at the material expense of parts of their faces. In giving her faccioni a literalized, material gaze through the means of removing part of their flesh, Macali focuses her attention on the problem of a woman’s symbolic role in capitalism. The physical violation done by Macali to these faces makes the female gaze a literal presence and shows how the bodies of women turned into objects of advertising are always already incomplete.