Born in 1962 in Figueras in Spain, Cristina Nuñez lives and works in Barcelona. Up to the early 2000s, she produced photography books in which she addressed social questions through the portrait: Body and Soul (1994), To Hell and Back (1995), Heaven on Earth (1998), Io sono/I am (2000). On the margins of this public body of work, she made self-portraits as a form of therapy; since 2005, this has been the focus of her photographic and video work, as well as of The Self-Portrait Experience workshops that she has been conducting in prisons, companies, museums, universities around the world. In 2012 Nuñez started her ongoing project La Vie en Rose, on video, performance and web platform. Her works have been presented at the Palazzo Vecchio in Florence (1997), Palazzo Reale in Milan (1997), the Rencontres d’Arles (1998), the Centre National de l’Audiovisuel in Luxembourg (2008), the Fabbrica del Vapore in Milan (2008), Festival FotoGrafia in Rome (2009), the Private Space Gallery in Barcelona (2010), the Mois de la Photo in Montreal 2011, Turku European Capital of Culture 2011, Luova gallery in Helsinki (2012), H2O gallery in Barcelona (2012), Effearte Gallery in Milan (2013) and MUSAC (2013). In 2011, she was showing her works in “Second Lives. Jeux masqués et autres Je” at Casino Luxembourg, as part of the Mois Européen de la Photographie.
Her work has been published in numerous monographic and collective books, and is part of several public and private collections such as the Maison Européenne de la Photographie in Paris, the Museum of Contemporary Photography of Cinisello Balsamo (Milan), The Private Space Gallery in Barcelona, the Centre Nationale de l’Audiovisuel in Luxemburg and the Ministry of Foreign Affairs in Switzerland.
In 1996 her project Heaven on Earth won the award Mosaique of the Ministry of Culture of Luxemburg. In 2012 her video Someone to Love obtained the Celeste Prize and her project But Beautiful got the Prix de la Critique 2013 at the Voies Off Festival in Arles.
BODY & SOUL (1994)
BODY AND SOUL is an intimate journal of portraits and nudes of the artist’s close friends and family, shot from August 1994 to March 1995. After 6 years of producing only self-portraits, Nuñez felt the urge to look at others with her bioptical Rolleiflex. She felt she saw them for the first time, and she was so thrilled that she wanted to see them deep inside: to find their essence in their faces, and in their naked bodies lying on her bed. BODY AND SOUL obtained the Award for a Photographic Project of the Marangoni Foundation in Florence, where it was exhibited in 1995. A part of BODY AND SOUL was shown in the Rencontres Internationales de la Photographie di Arles (France) in 1998 in the exhibition „Images from an inner world“ and some of the photographs have been acquired by the Maison Europeenne de la Photographie, Paris.
TO HELL AND BACK (1995)
To Hell and Back is a project that Cristina Nuñez carried out in 1995, on the Jews who survived the Nazi concentration camps. It is based on the juxtaposition of portraits of survivors with photographs of the sites of holocaust, significantly alternating color images with others in black and white.
Several panoramas of the camps appear between the diptychs, communicating the sense of an itinerary through deportation. Photographs of heaps of shoes, ashes and tombs show what remains of the millions of dead and represent the terrible burden endured by the survivors.
They are images that enter directly into the living memory and which, in the impossibility of accounting in concrete terms for a past that was violently obliterated, take position in our times by presenting what little remains, namely desolate areas, expanses that have become monuments, rooms that have become museums and, above all, the survivors “...because we feel ill at ease before these women and these men, the innocent witnesses to the failure of modernity, to the failure of each and every one of us” (Francesco Spagnolo Acht). To Hell and Back was published as a photography book by Art&, Italy, in 1997, and exhibited at Palazzo Vecchio (Florence), Palazzo Reale (Milan), Museo Monumento al Deportato (Carpi), Biblioteca Nazionale (Turin), Risiera di San Sabba (Trieste), Foto Bienal Vigo (Spain), Festival Europa (Encontros Fotografia Coimbra).
HEAVEN ON EARTH (1996-8)
After TO HELL AND BACK about survivors of the Nazi extermination camps, Nuñez felt the need to work on spirituality. She wanted to photograph man’s relationship with God, in the three main monotheistic religions in Europe. The artist chose small and intimate places where faith was intense but natural, and central to people’s lives. She didn’t want it to be disturbed by fanatic attitudes or politics, she was looking for the positive essence of every religion, because she herself wanted to believe, to put herself in their skin. Nuñez photographed the Camino de Santiago de Compostela, Christian Orthodox nuns in Romania, Catholics in Southern Ireland, Muslims in Bosnia and Lubabitsch Jews in Italy.
This project was produced in 1996-1998. The project got the Mosaique grant from the Ministry of Culture of Luxembourg in 1996, and it was exhibited at the Biennale of Skopelos in Greece, in 2001 and in the exhibition De L’Europe, at the Centre Nationale de l’Audiovisuel in Luxemburg in 2008.
SOMEONE TO LOVE (1988-2012)
In 1988, in an attempt to overcome personal problems, Cristina Nuñez began to take self-portraits in private. Giving shape to her emotions and revealing her presence to the world, enabling her to turn an uncompromising gaze upon herself, but also to project herself as she wanted to be, these images became a form of self-therapy through which she learned who she is. Someone to Love (1988–2011) brings together for the first time the best self-portraits that she made.
In the video-diaporama Someone to Love, (Celeste Prize 2012) the voice of the author accompanies the viewer through her family history and childhood, her troubled adolescence as a heroin addict and the evolution of her self-image, her relationships and the discovery of the self-portrait as a tool for self-therapy. The last sequence shows the project on her mother’s life, including collaborative self-portraits and family pictures, until her last breath. The Self-Portrait Experience shares with viewers the artist’s method of interior exploration. These two paths, through which Nuñez states that, “The existing separation between art and therapy is intolerable,” now form the focus of her art.
HIGHER SELF (2008-2013)
Cristina Núñez started working on the self-portrait in 1988, after five years of heroin addiction, as a sort of intense inner search and a need to express inadequacy and difficult emotions. Later on she realized that the practice of the self-portrait was a way to explore and affirm her creative identity. In 2004, fascinated by the power of the medium, she started to invite others to take self-portraits in her studio and built an articulate method which she currently teaches in Italy, Spain, Finland and the USA, for others to experience the creative process through the expression of emotions. During the workshops Cristina Núñez holds in art schools, prisons, mental health centres and companies, the collaborative self-portraits of HIGHER SELF are produced.
In her photo studio, Cristina Núñez invites people to take self-portraits while trying to express their most difficult and extreme emotions (rage, despair). Having given her instructions, Núñez leaves the person alone to take pictures. When she has finished, Núñez comes in and accompanies her in the process of perception of the images and involves her in the choice of the final work.
Núñez considers her method and workshops as part of an artistic project, and its main goal is social activism. Núñez wishes to divulge her method globally and to test it with different people, to better understand the human condition today. Her more than 500 collaborative self-portraits have stimulated a philosophical and anthropological study which has been published in the academic press in Italy and UK.
HIGHER SELF (2008-2013)
HIGHER SELF: A JOURNEY TOWARDS THE ORIGIN OF EMOTIONS AND OF IMAGES An essay by Daniele De Luigi
Cristina Núñez’s HIGHER SELF is produced in a space where several conceptual and disciplinary “limit zones” converge: the one between traditional photographic practice and contemporary art processuality, the one between formal conception and social activism, including, in the creative act, disciplines such as psychoanalysis, philosophy and anthropology, not only in theory but also in practice. At the same time, the project is able to contain an intense emotional load and a powerful aesthetic impact. In HIGHER SELF, the final work is as important as the unique procedure which is necessary to obtain it. HIGHER SELF starts from a strictly photographic dimension: that of the studio portrait and of the workshop in which participants are involved in the creative work. Cristina Núñez directs the whole process, but her absence during the actual making of the images, an indispensable condition for the operation’s success, questions the absolute autonomy of the artist-photographer in the creation of the image, acknowledging the subject’s co-authorship. Núñez’s artistic procedure does not obtain a certain or predictable result, because the artist deliberately refuses to control the actual execution, and all depends on the participant’s ability to respond to the experience she proposes. The artist’s footprint reappears in the selection of the final work, even though the participant is also engaged in a shared interpretative process. The subject is authentically involved in the material execution of the image. The project’s creative process is characteristic and decisive, but the final work, in which the process condenses itself iconographically, acquires the utmost importance. Many of the self-portraits produced under Cristina Núñez’s guidance show a high iconicity and recall well known iconographies which belong to our memory’s and our visual culture’s historical repertoire. We can therefore deduce an unexpected return to symbolism. The extraordinary fact is that these iconographies are not created in an intentional artistic and intellectual action which voluntarily refers to codified formulas, but they spring from a creative process in which, in the precise moment of creation of the image, there is no control on its shape or composition. The surprising relationship between the subject’s emotional mood and the traditional meanings attributed to the iconographies which these images evoke, is such that these photographs are speaking about the very origin of images and the truth of gestures and human expressions which constitute the foundation of the visual civilization developed in ancient times.
Induced by Cristina Núñez to express their deepest, primary emotions, and at the same time conscious of being transformed or translated into images, some of these people spontaneously create icons which belong to our collective memory. They are not representing an iconography, but they are incarnating its symbolical abstraction through their own personal experience.
HIGHER SELF (2008-2013) THE PARTICIPATORY ART OF CRISTINA NUÑEZ an essay by Paul di Felice
The self-portrait as aesthetic experience If all art is autobiographical in a way and always has been, it wasn’t until the 20th century that the biographical dimension directly had an impact on the production and consequently the reception and interpretation of the artwork. Since Surrealism, numerous artists have made it their artistic trademark. From the 1960’s onwards, certain movements directly participated in the abolition of the boundaries between art and life, between the body of the artist and the body of the work. Photography, in particular, through its ambiguous qualities, between reality and fiction, was able to seize the striking image of realism through identity and psychology of self while exploring staging, the anecdotic and the ludic. One of the first self-portraits in the history of photography, in which H.Bayard represents himself as drowned, thirty years before his death, illustrates how photography is staged to fool the viewer. Paradoxically, this artistic genre which seems closest to the person also shows how the true and the false can coincide, how photography can record a character and a situation while representing another, by projecting itself into another corporeality and temporality. In the same way, doesn’t the self-portrait in photography, with its relationship of viewer-viewed, in its dyadic essence of emission-reception, always designate the other through its own representation ? Thus the experience of the self-portrait in the case of Cristina Nuñez, a Catalonian photographer, starts with the relational principle of the self which becomes the other, precisely by feeding on her own biography. Her first self-portraits date back to 1988. At that time she was living with an Italian photographer in Milan. The camera enabled her to discover herself by experiencing a new freedom and autonomy in relation to her family and her history through personal and intimate images. After many years of exploring this artistic genre with a therapeutic aim, she opened up the field of the portrait and self-portrait to new directions by inventing a type of participatory self-portrait. It was from reading Lacan and his theory of the mirror phase – the child invited by its parents to look at itself discovers its self in the mirror – that Cristina Nuñez developed her method of teaching self-portraiture during workshops she always organizes in accordance with a mechanism that is rigorously orchestrated in advance. Whether in schools, prisons, hospitals, companies or art centres, each workshop starts with a subtly introduced deconstruction by the artist who strips bare her own feelings and experiences by illustrating her ideas through artistic representations that remove all barriers between life and art. It is through an enormous effort of persuasion, while maintaining the balance of tensions between introversion and extraversion, that she succeeds in transmitting her ideas by illustrating the most extreme situations through a very authentic and personal aesthetic. Through a conception of the aesthetic which bypasses the dogmatic values of beauty, she pushes every participant in her workshops to go from the singular to the universal by exploring and
bringing together what Valéry refers to as the Esthésique (the study of sensations) and Poïésis (human action). 1 Every experience also implies the double nature of the aesthetic in its contemporary definition which is based on the interaction of ‘‘feeling-doing’’ and ‘‘thinking-questioning’’. She fits into the intensity of contemporaneity (in Agambien’s sense) by simultaneously revealing the past, the present and the future through a taut confrontation between the profound self and her image as the revelation of shared constructed (or even deconstructed) representations. The Luxembourg experiment
Cristina Nuñez introduced the method she has developed over the last ten years to a targeted public of students and teachers from Luxembourg University, within the framework of the 2011 edition of European Photography Month. Co-organized by Casino Luxembourg-Forum d’art contemporain and the Laboratoire d’arts visuels (IPSE) of the Faculté des Lettres des Sciences Humaines, des Arts et des Sciences de l’Education of Luxembourg University, this first seminar occurred in three important stages in March 2011. The first session began with a personalized exposé by Cristina Nuñez evoking almost thirty years of experiences of the self-portrait in front of an informed public (students, teachers, Casino regulars) potentially interested in the participatory experience. The second stage, which involved shooting in a temporary studio, was organized by the artist in such a way as to be able to procede to the experience of individual sessions of self-portraits according to precise instructions. This part, which was very intense for the artist, was rigorously structured because she demands a substantial inter-relational engagement from participants. Having established a list of essential points to observe when in front of the camera (the position of the camera, the lighting and the black backdrop decided by the artist never change ), Cristina Nuñez invited each person to position themselves, nude or dressed, and to express a very strong feeling such as sadness, joy, fear, anger, etc. A dozen images (directed self-portraits but without the presence of the artist) were produced by each one according to the chosen expressions. At the end of this shoot, the artist discussed the results by reducing the choice to more or less three photos per person. The third stage, the most educational one, took place at the university where every student in the Photography as teaching tool option presented and discussed their individual choice in front of the group in the presence of the artist and the teacher. The second workshop carried out at the university in October 2012 showed the importance of this session. The active participation of students and teachers was developed, led by the artist, who proved to be a fine teacher. She aimed to analyze the photographs using three large selection criteria. Every photograph was projected and analyzed by the students according to the degree of multiplicity, temporality and harmony of image. As these notions indicate, criteria based on beauty or photogenia are not favoured by Nuñez’s method. On the contrary, her system is closer to the Deweyian aesthetic and artistic experience in seeking, through questioning, ‘‘to restore the continuity between those refined and more intense forms of experience that are the works of art and actions, suffrance and daily events universally recognized as elements that make up experience’’. 2
Is participatory self-reflexivity a form of relational art ? The asymmetry of the gaze and the disharmony of the rictus noted during these visualisations denoted a primary level of shared ‘‘artisticity’’. But, in order for these representations resulting from simple recordings of facial expression in front of the camera to transform themselves into art, the materials analyzed to be subjected to the ‘‘transfiguration’’ of the subject of representation - must accomplish all the process initiated by the programme established by Cristina Nuñez. Similarly, in the logic of the interaction required to arrive at the artwork, she often completes, as was the case during the workshop in Luxembourg, exchanges of experiences by focalising on the criteria (multiplicity, temporality, harmony) at the time of the reception of the artwork. Thus the Higher Self series, through its play on watched-watcher, subject-object, interior-exterior, production-reception, became a quest for the self and the other, with the aim of questioning art while playing the art game. It is from this conjunction of individual experience, at the time of shooting, and the group experience, during the analysis of the productions, that this creative process develops. But this intention flows directly from the artist who takes the person on board only if s/he accepts to free personal experience in such a way that it can be transformed into an artistic experience. In a sense, this means that the co-author of the image renounces becoming the co-author of the photograph as artwork. This approach, which is the antithesis of the simple photographic portrait or self-portrait, is therefore closer to conceptual art, relational aesthetics or even formal art. Given that every action feeds from the aesthetics of an almost immaterial art in which the intention, the process, the rules and the contract all participate in the artwork, the photographs subsequently exhibited are only an embodiment of the artistic approach. While the photographs resulting from these experiments, which were exhibited within the framework of Second lives jeux masqués et autres Je at Casino Luxembourg-Forum d’art contemporain and also at the Walferdange campus of the university within the framework of European photography Month, are of considerable aesthetic quality, the accompanying process might lead us to agree with Goethe that before being beautiful, art is instructive.3 The power of Cristina Nuñez’s artistic propositions arises from posing the aesthetic question in terms of the interaction between artist, model and viewer, in which subjectivity and objectivity confront one another in a dynamic evolutionary process. Paul di Felice
A long extract from this article was published in Traces, Casino publishing, in March 2012 1 Paul Valéry, ‘‘Discours sur l’Esthétique’’ (1937) in Variété IV, Nrf, Gallimard, 1939, 265 pages, pp. 235-265. 2 John Dewey, L’art comme expérience, (Art as Experience, University Press Illinois, 1915), Folio Essais, 2010 3Cited by John Dewey in John Dewey, L’art comme expérience, (Art as Experience, University Press Illinois, 1915), Folio Essais, 2010
LA VIE EN ROSE (2012-2013...)
La Vie en Rose is an ongoing project by Cristina Nuñez on video, performance and website platform, with the (real) objective of finding the love of her life. Instead of focusing merely on her qualities, as is normally done on websites to find your soul mate, the artist lays bare her weaknesses in a temporal and geographical journey, both intimate and public, against a backdrop of the crucial moments in her life. A search for salvation and redemption that is one of the fundamental principles of her work. The artist inaugurates the video exhibitions with a performance in which spectators can participate by coming forward as potential suitors. At the end of 2013, the series of videos La Vie en Rose will be published on a website platform, so that the artist’s message and search gets worldwide propagation. The public will be able to view all the videos, make comments and propose themselves as candidates. Any significant encounters might also be documented and published, if the couple so decides. If and when the artist will find her soul mate, the website will be open to all those who wish to search the perfect partner in this manner, using contemporary art.
The first video of the series La Vie en Rose has been first shown at Effearte Gallery in Milan on May 16, 2013, where the artist’s performance showed Nuñez shaving her head completely for the first time, expressing her emotions and clumsily trying to seduce someone from the public. On July 3, the first video was shown, together with the video Someone to Love, at the Galerie du 4 Septembre during the Rencontres Internationales de la Photographie in Arles. A different performance was held in Arles: a ritual in which the artist took off 30 pieces of clothing and washed her hairless head and body in a somber cave. Her next performance will be held during the Encontros da Imagem in Braga, Portugal.
LA VIE EN ROSE (2012-2013...) the performance
Cristina Nuñez has started working on performance art in 2012, when a young performer named exactly like her, asked her to work on a project with her. The result was BANG BANG, visible on the artist’s Vimeo channel. The three performances at La Caldera in Barcelona happened two days after the death of the artist’s sister, and Nuñez decided to let out all her feelings. Recalling her teenage acting experiences with John Strasberg in Paris, most of the times blocked by fear, Nuñez discovered the excitement of being in front of the public and the powerful impact of her live emotions on people. Improvisation and the expression of the actual emotions she’s feeling and her thoughts in that moment, is the central action of her pieces, which unfold naturally between drama, irony and the intense relationship to the public. Spectators can participate actively in the performance, giving their opinion about the artist’s shared thoughts, feelings and actions and eventually proposing themselves as candidates. The final result of the action will depend on Nuñez’s emotional reactions to the public’s intervention. Performances are used in the video pieces, with the artist’s voice commenting her actions, especially what she sees as her failures. An excerpt of Alessandro Trabucco’s article
Looking for... Nielsen and Nuñez at Effearte
“In the Project Room (at Effearte Gallery, Milan ndr) Cristina Nuñez’s video La Vie en Rose is an autobiographic narration which brings to light certain issues and experiences with the purpose of finding her ideal partner, like a complex web advertisement, without hiding defects or existential problems. During her performance in the opening day, which followed the same philosophy, Nuñez had her head completely shaven for the first time and made several tentatives of seduction, without hiding her embarrassment or disappointment when things didn’t happen as she wanted. The question remains on how much the thoughts of anxious research and frustration, so common in our contemporary reality and shared by most people, can actually find an authentic motivation in those articulated languages, so needy of innovative ideas, such as video-art and performance. But it is certain that the expressive honesty of the artist shines through in all its clarity, both in the video images and in the difficulties encountered by the artist when trying to involve the public during her opening performance”. La Vie en Rose Performances: Casa de Cent, Barcelona, May 2, 2013. Effearte Gallery, Milan, May 16, 2013.
Galerie du 4 Septembre, Arles, July 3, 2013.
Encontros da Imagem, Braga, September 14, 2013.
Cristina Nuñez is a self-taught photographer and video-artist, born in 1962 in Figueras, Spain. Awards and grants
2013 - 2014 - grant from the Norwegian embassy in Spain, programme “Cultural Diversity and Cultural Exchange”- project Her/Story, Two Women Behind the Camera, with Lotte Konow Lund. 2013 – Her project But Beautiful obtains the Prix de la Critique 2013, at the Voies Off Festival in Arles, July 5. 2013 – Nuñez obtains the prize Premio Ora, with the gallery Sponge Arte Contemporanea, in Pesaro. 2012 - La Caixa Obra Social, for her project Self-Portraits in Barcelona’s prison Lledoners 2012 – her video Someone to Love wins the Celeste Prize 2012. 2012 – OSIC, Office for the Support of Cultural Initiative, Catalan Government, for her exhibition Someone to Love at H2O gallery in Barcelona and Luova gallery in Helsinki and for her books But Beautiful and Higher Self. 2011 – CONCA, Council of the Arts and Culture of the Catalan Government, for her exhibition Someone to Love at the Mois de la Photo of Montreal 2011. 2010 - La Caixa Obra Social, for her project Self-Portraits in Barcelona’s prison Brians 1 2010 – Finalist and honourable mention at the Interim No.1 of the New York Photo Awards. 1996 – Mosaique, CNA Luxemburgo, for her project Heaven on Earth. 1994 –Fondazione Studio Marangoni, Florence, for her project Body & Soul. One person exhibitions
2013 - La Vie en Rose and Someone to Love, video and performance, Encontros da Imagem, Braga. 2013 - La Vie en Rose and Someone to Love, video and performance, Editions Limités, Galerie du 4 Septembre, Arles. 2013 – La Vie en Rose, video première and performance, Effearte gallery, Milan. 2012 – Someone to Love, Luova gallery, Helsinki 2012 – Someone to Love, H2O gallery, Barcelona 2011 – Someone to Love, video preview, H2O gallery, Barcelona 2011 – Someone to Love, Skol Centre des Arts Actuels, Mois de la Photo de Montreal 2011. 2010 – Higher Self, The Private Space Gallery, Barcelona 2008 – I am a teenager, Polifemo, La Fabrica del Vapore, Milan (curator) 2007 – Young Italian Gentle Men, Spazio Private Larusmiani, Milan
2000 – I am, Galeria Franca Speranza, Milan 1998 –To Hell and Back - Risiera di San Sabba, Trieste 1997 – To Hell and Back: Palazzo Vecchio, Florence; Biblioteca Nazionale, Turin; Museo Monumento al Deportato, Carpi; Palazzo Reale, Milan; Encontros de Fotografia, Coimbra, 1995 - Body & Soul, Fondazione Studio Marangoni, Florence Selected group exhibitions
2013 – But Beautiful, projection at Voies Off Festival, Arles. 2013 - video Someone to Love and the book But Beautiful, The Flood Wall II, Berlin. 2012 - video Someone to Love, Celeste Prize 2012, Centrale Montemartini, Rome. 2012 – video Someone to Love, Social Photo Fest, Piombino & Perugia. 2012 – video Someone to Love, Les Nuits Photographiques, Rencontres d’Arles. 2012 – video Someone to Love, Les Nuits Photographiques, Paris. 2011 – 2000 & 11 Self-Portraits, Finnish Museum of Photography, Helsinki. 2011 – 2000 & 11 Self-Portraits, European Capital of Culture 2011, Turku. Peri Photography Centre. 2011 – Higher Self, “Second Lives: Jeux Masqués et Autres Je”, Casino of Luxemburg. 2010-11 – Grandi e Piccole, Museo di Fotografia Contemporanea, Cinisello Balsamo, Italy. 2010 – Io mi vedo così: Autoritratti Fotografici, Centro Fotografia d’Autore, Bibbiena. 2010- Foto d’Autrice, Galleria Bel Vedere, Milan. 2009- The Self-Portrait Experience, Festival FotoGrafia, Rome. 2008 – De L’Europe, CNA Luxemburg. 2006-2007 – Il Sole nelle Mani, Bariphotocamera. 2005-6 - Tales from a Globalized World, Krakow, Vienna, Dhaka, United Nations, New York. 2005 – Est-ce ainsi que les hommes vivent, Jardins du Luxembourg, Paris. 2004 – Tales from a Globalized World, Zurich, Chiasso. 2003- Quotidiano al Femminile, Galleria del Credito Valtellinese, Milan. 2003 – Tales from a Globalized World, Geneva. 2002- The Spirit of Religion, Photocenter Skopelos. 1999- Papa, Maman, Chateau de Nyon. 1998 – Images du Monde Interieur, Rencontres Internationales de la Photographie, Arles. 1996-Il Ritratto, un’Evoluzione, Breracult, Milano, curated by Photology, Milan. Personal books
2013 – But Beautiful, Le Caillou Bleu, Brussels. 2013 – Higher Self, The Self-Portrait Experience, Le Caillou Bleu, Brussels. 2010 – Someone to Love, The Private Space Books, Barcelona. 2006- Young Italian Gentle Men, Valentina Edizioni, Milan.
2000 – Io Sono (I am), Dianova, Milan. 1997 - All’Inferno e Ritorno (To Hell and Back), Art&, Udine, Italy. Collective books
2012 – Il corpo solitario. L’autoscatto nella fotografia contemporanea, Rubettino, Soveria Mannelli. 2011 - 2000&11 Self-Portraits, European Capital of Culture, Turku, Finland. 2011 - Lucidity, Inward Views, Mois de la Photo de Montreal. 2008 – De L’Europe, CNA Luxembourg, Dudelange. 2007 – Il Sole nelle Mani, Bariphotocamera, Motta Editore, Milan. 2005- Est-ce ainsi que les hommes vivent, Editions du Chène, Paris. 2003- Tales from a Globalized World, Thames & Hudson, London. 2003- Quotidiano al Femminile, Peliti Associati, Rome. 2001 – The Spirit of Religion, Skopelos, Greece. 1999 – Paradise, ed. Steidl, Germany. 1997 - Europa, Encontros de Fotografia de Coimbra, Portugal. 1996 - Vita da Bambino, Art&, Udine, Italy. Collections
Maison Européenne de la Photographie, Paris Centre Nationale de l’Audiovisuel, Dudelande, Luxembourg Museo di Fotografia Contemporanea, Cinisello Balsamo. SDC, Ministry of Forgeign Affairs, Switzerland. Camera di Commercio di Bari. H2O gallery, Barcelona. The Private Space gallery, Barcelona. Workshops The Self-Portrait Experience (2005 – 2013)
European Capital of Culture 2011-Turku, Museum of Contemporary Photography-Cinisello Balsamo, SKOL -Centre des Arts Actuels -Mois de la Photo de Montreal 2011, Casino of Luxemburg, The Private Space Gallery-Barcelona, Consarc Gallery-Chiasso, Forma-International Centre of Photography-Milan, Luova gallery-Helsinki, MC2 gallery, Brians 1 prison, Wad Ras prison-Barcelona, San Vittore prison-Milan, University of Roehampton, University of Northampton, University of Luxemburg, New York University, University of Turku, University of Barcelona, University of Girona, University of Bicocca, Catholic University of Milan, University of Bologna, Turku Academy of Arts, Domus Academy of Fashion and Design, Tampere University Hospital-Department of Child and Adolescent Psychiatry, ASL Mental Health Centre-Lucca, Nou Barris Mental Health Day Hospital-Barcelona, SERT-Public Service for Drug Addictions-Palermo, Housing Works, Women Health Centre-Brooklyn, Institute for the Arts in Psychotherapy-New York, Ariele, psychotherapy association, Philo-school for psychological practices, Ispa-art-therapy school, Institute of Family Therapy-Florence, Erich Fromm Institute-Bologna, Sistema Counseling-Milan, Kastu School-Turku, Raunistula School-Turku, Waldorf School-Milan, SDA Bocconi-leadership training-Milan, Marketing Forum-Milan, Mida-leadership training, Watson Wyatt-leadership training-Milan, Future Concept Lab-Milan, Saatchi & Saatchi-Milan, Italfondiario-leadership training-Milan and Rome, Danone Italy-leadership training-Milan, Banca del Mezzogiorno-leadership training, Spazio Labò-Bologna, Citilab-Cornellà, Bottega Immagine-Milan, Social Photo Fest-Perugia, Hangar.org-Barcelona.
ISSUU PROFILE (press dossier, workshop dossier in English, Italian and Spanish) http://issuu.com/cristinanunez3/docs
VIMEO PROFILE (all videos and performances): https://vimeo.com/user9713227 FACEBOOK:
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