LOVELY-RATZ About

Projects
Bio
Linda Pietrobelli (2001) and Bri Zamengo (2002) graduated with a Bachelor’s degree in Multimedia Arts at IUAV University of Venice.
In 2023, they formed the collective “LOVELY-RATZ”, born from the desire to work together, engaging with the dimension of the other and considering it as necessary for the development of thought.

Statement
By combining performance and photography to explore human dynamics, our research focuses on interpersonal relationships and social roles through queer and transfeminist perspectives, placing relational processes at the core of practice.
  Collaboration is both a method and an ethical position: we understand artistic research as a shared process shaped by relations between people, objects, spaces, and practices, aiming to create spaces for encounter, reflection, and empathetic connection.
  Our work unfolds between aesthetic exploration and conceptual inquiry through performative and embodied practices. We investigate how the body engages with and reconfigures space through perception. Garments act as carriers of identity, bridging fashion and performance as intertwined languages.
  We engage with territory, nature, and communities, using situated and adaptive methodologies informed by care, slowness, and presence. Objects, gestures, and collective actions function as relational mediators, activating shared memory and forms of belonging.
  These processes aim to generate temporary communities and micro-utopian spaces, where affective and political forms of resistance can emerge within everyday life.

I’ve got you on my skin



    performance
    2023

Group exhibition “FARE”, Laboratorio di Arti visive 1 (held by Diego Tonus with the collaboration of Daniele Zoico), IUAV University of Venice
Photo credits Marco Reghelin, 2023
Dozens of people have been involved in the development of something that has been passed down to them through drawings, words, and symbols on an A4 sheets. The performer chose to use her body as a surface to transfer their personal histories, using tattoo stencils.
    This ancient ritual of skin marking, with its various social and personal facets, reveals its identity function: each tattoo is like an indelible signature that distinguishes one person from all the others and determines their own uniqueness. Each individual has thus shared a part of their history passed down from someone else.
Once the drawings were collected, they were manually retraced to create the stencils, inevitably modifying the original stroke. During the performance, the stencils were applied by the performer, but other people also had the opportunity to do so, directly engaging with the body of the woman and becoming active components of the process. When the stencils are passed from hand to hand, they generate a chain of stories and identities that contribute to the birth of a new tradition.
    This practice highlights an anthropological aspect, emphasizing the process of cultural transmission and the importance of symbols and traditions in the construction of individual and collective identity. Each stroke, symbol, or word passed from hand to hand carries with it a part of the history and identity of those who created them and those who received them, contributing to the creation of a network of human and cultural connections.