VOGUE ART   

VOGUEPRADAMAZZIOTTA.jpg
PRADAVOGUEVERONICAMAZZIOTTA.jpg
PRADAVOGUEVERONICAMAZZIOTTA.jpg
PRADAVOGUEVERONICAMAZZIOTTA.jpg
PRADAVOGUEVERONICAMAZZIOTTA.jpg
PRADAVOGUEVERONICAMAZZIOTTA.jpg
PRADAVOGUEVERONICAMAZZIOTTA.jpg
PRADAVOGUEVERONICAMAZZIOTTA.jpg

Creative Director : Veronica Mazziotta

Cinematography: Gregorio Adezati + Francesco Marconcini @ Cartacarbone

Camera operator: Timon De Graaf Boelé

Stylist : Veronica Mazziotta 

Editing: Giacomo Prestinari @ Artisans Madrid

Make-up: Giovanna Fucciolo, Claudia Malavasi

Hair: Blow hair Milano

*Models: Rosa Franjic @ Next Models, Sveva Miserotti @ Elite Model, Gail Pellizzari @ Women Direct, Raniya Mordanova @ The Fabbrica, Paige Cole @ No Logo Management, *Jessica Anderson @ The Fabbrica 

Music: Petro Miano, Federico Vaccari @ 2nd Roof

Voice: Jeanine De Bique

Canon Digital Imaging Partner, MKS Agency

Rental Equipment & production service: Backstage, Moovie 

Total look : PRADA

Crush! A delicate act of violence

 They dance a "non" dance, immerse in their thoughts, but the background music already preludes the mood that underlies the entire flow of the video: a mixture of moods. From absurdity to hilarity, from repulsion to attraction. The models-actresses presented in this fashion film, written and directed by Veronica Mazziotta and produced by the Cartacarbone studio, sometimes as ethereal girls with an indefinite age, when the disposition of the soul becomes more melancholy and gloomy, sometimes as young women messengers of irony and lasciviousness. The violence that arises from their behavior is in stark contradiction with the lightness and elegance typical of Prada colors in their clothes. But it is thanks to this short circuit, an almost intrinsic malice in the gestures of the faces and bodies, that a tickle of references sneaks into the mind of the beholder. A certain observer who cannot be fasting from that crucial moment of contemporary art in which artists, commensurate with the entry of technology into everyday life or with the possibility of going beyond the limits of their own body, have known new frontiers of expression. Under this magnifying glass, then, like ghosts, the traces of some artists, icons of the world art star system, who with their performances and their videos have marked the watershed of imaginative power. From the exploration of the potential of Marina Abramović's body to the plastic strength of Matthew Barney's works. What was not there before, which had never been imagined, then existed.
A further strong contrast, played visually as well as mentally in the vision of the video, occurs precisely in the relationship between the images proposed, rich in veiled quotations and connotative gestures, and the black backdrop that welcomes a fleeting sentence like a subliminal message. A warning that invites cancellation, total detachment up to the complete renunciation of the self: annihilation. This series of found elements immerse the atmosphere of the video in a rarefied and strongly ironic, semi-serious dimension.
Søren Kierkegaard wrote: “Irony is the sure eye that knows how to grasp the wrong, the absurd, the vain of existence”. (Text by Giorgia Noto)