UPDATE: Due to the worldwide pandemic, the exhibition is postponed until further notice.
We are so proud, honored and touched by the amount of participants we received in our first open call and pop-up exhibition in collaboration with Galerie &co119. In total, we had 420 images from 140 photographers representing 32 countries, with 26 finalists chosen photographers and 42 exhibited images. So, who are these 26 powerful people that are pushing public perception? Read on to discover each person and their uncensored work below.
The stringent and yet vague community guidelines of the major social media channels are inconsistent, full of contradictions and hypocritical at best, but the problem runs deeper. The message is deafeningly loud and the silence is violent: if you have enough money or are famous enough, you can publish whatever you want, regardless if it violates their own guidelines. If you don’t have a “perfect body”, you will not be seen. If you have important messages to express about the female body, whether that be cis or trans, you will not be heard. C*nsorsh*p is an exhibition which gives a voice to women, nonbinary and trans photographers to show their photography without fear or threat.
Ada Trillo is a documentary photographer based in Philadelphia, PA, and Juarez, Mexico. Trillo holds degrees from the Istituto Marangoni in Milan and Drexel University in Philadelphia. Trillo’s work is concerned with human rights issues facing Latin American culture. Trillo has documented forced prostitution in Juarez and the recent migrant caravan attempting to reach the U.S.. Trillo has exhibited internationally at Saint Joseph’s University in Philadelphia, The Photo Meetings in Luxembourg, The Passion for Freedom Art Festival in London, Festival Internazionale di Fotografia in Cortona Italy and at the Anya and Andrew Shiva Gallery at the John Jay College in New, York. In 2017, Trillo received a Leeway Foundation’s Art and Change Grant. Her work has been featured in The British Journal of Photography, The Guardian and Smithsonian Magazine. Trillo was recently awarded a CFEVA Fellowship by The Center For Emerging Visual Artists and was named the Visual Artist-in-Residence for Fleisher Art Memorial in Philadelphia. Her work is included in the permanent collection of the Philadelphia Museum of Art. Trillo was recently awarded First Place in Editorial Photos with the Tokyo International Foto Awards.
Bella Tozini is an artist and researcher in the field of visual arts with an emphasis on the relationship between photography, cinema, body, gender and sexuality. Master in Multimedia by Unicamp (2018), she specialised in cinematographic direction at the Lodz Film School in Poland (2004). Her artistic practice is centred on "discomfort bodies" and "political bodies", and their strategies of subversion and visibility between the fields of pop culture and tradition. She published the photo book Lacração, about the LGBTQI + community of the city of Jundiaí - SP in 2018. In June 2019, she held the photographic exhibition and urban intervention “Lacração - Territories”. She lives in the countryside city of Cabreúva, working in cultural groups and queer and feminist collectives in the cities of São Paulo, Itu, Jundiaí, Campinas and region.
Johanna Rambla: My name is Johanna Rambla, but I am better known as Shoshana. I am a photographer and illustrator based in Buenos Aires, Argentina. I been through different artistic disciplines. I studied Fine Arts, a career which made me discover the interest in photography. I graduated as a professional photographer at Escuela Motivarte in Buenos Aires. As a photographer I worked in press, fashion, product and social events. I have several personal projects in process. I also worked as a photographer on cruise ships, which gave me the posibility to travel the world. This experience allowed me to greatly expand my horizons. I especially like to portray people.
Lou-Anna Ralite: I obtained a bachelor in film from the Sorbonne in 2016. Cinema is for me, an inexhaustible source of inspiration both in its aesthetics as in its narratives. The following year, I put together a documentary project Xoxo From China in southwest China. The series of photos illustrate the work of contemporary artist Zheng Guogu. The images were displayed on the facade of the EP7. In 2018, I obtained a Bachelor of Arts in photography from EFET school. I exhibited my graduation work at Les Voies Off for the Arles photography festival. In 2019, I also worked as a photographer for Le Bonbon magazine.
Slime Pony is an Alabama wild child, now living in Oakland, CA. They create art that reflects a chaotic life of punk, BDSM, and escapism, approaching photography as a collaborative engagement with their subjects & promoting self-exploration through consensual experiences in front of and beyond the lens. They have always had an interest in making art, with an early focus on pen-and-ink drawings, but film photography emerged as their primary medium in 2016 because they wanted to find a way to integrate their creative practice into their social life and vice versa. With no formal training or education in photography, they have learned everything they know about technique from friends or through their own experimentation. Their work is intended to leave the audience questioning assigned gender roles, views about sex work, and their own sexuality.
Ava Pivot was born in the eighties in Starnberg into a well-known artist family and grew up with art. Her work has been published in international Magazines like VOGUE, ELLE, GQ, L'OFFICIEL, L'OFFICIEL HOMMES, MARIE CLAIRE, ESQUIRE, PLAYBOY, STERN, TUSH, SCHÖN!, HARPER'S BAZAAR, FUCKING YOUNG! and many more. She worked for variable clients like GUESS, ROLEX, M.A.C., NIKON, and multiple other companies as well as international stars from actress Ashley Tisdale to tennis star Caroline Wozniacki to actor Christiane Bale to equestrian champion Sir Mark Todd to divers others. Ava's passion for photography started with her love for horses as a professional military and dressage rider. When Ava started with photography, then still in analog photography, she first specialized in images of horses. After her first big campaign job for Rolex, she started adding fashion and portraits to her portfolio. Today her work is focused on fashion, beauty and portrait photography.
Selina Mayer: I am a British visual artist working primarily with analogue photography, specialising in nude portraiture. I studied Fine Art at Central St Martins and continue to live and work in London. In 2019 I was awarded an Artist Residency prize and a Special Mention of the Jury Award in photography from the Mediterranean Contemporary Art Prize. Also in 2019 I was a semi-finalist in the Head On Portrait Prize, obtained 3rd place in Nudes from the Monochrome Photography Awards, received an Honourable Mention at the Tokyo International Foto Awards, and was an official selection for the Imago Lisboa Meeting Point portfolio reviews. In 2018 I was a nominee for the PhotogrVphy Grant. In 2017 I was the subject of the award-winning short documentary A Film On Film by David McNulty. In 2014 I received the Silverprint/Photofusion Black and White Photography Award. The first nude body I photographed was my own. My self-portraiture is a way for me to explore my own vulnerabilities, and I did this by removing my clothing, my armour. Later, others responded to this vulnerability and began allowing me past their own armour. By shooting on film my photos become tactile objects, a counterpoint to the incorporeal and ephemeral digital photography that surrounds us every day.
Eva Merlier is a French self taught photographer born in 1989 and based in Lyon. Taking pictures is her own way of speaking to the world. With this new language she aspires to meet and share with others, finding strength in sharing differences. Fed up with what’s shown in media, her work aims to reconstruct women’s and queer people social images. She gives us her own vision of beauty and questions gender clichés.
Ann Massal graduated from CELSA Sorbonne and then from the St Martins School in London where she studied photography. Her work was exhibited throughout Asia and her first photobook was published by Kehrer Verlag.
Plato’s equation: beauty = good = truth is a bygone concept. the word beauty has been abused and overused. Its meaning has shrunk to only apply nowadays to materialistic considerations. Marked by a career started in the beauty industry, Ann Massal questions in her photographic work, the essence of beauty itself. Through a vast array of techniques (dripping, bleaching, cutting, painting), she distorts images to offer us her take on beauty: sinful, ambiguous and always colorful. In these series, Ann uses vintage photographed that were forbidden to sell in the 70's but sold by a man called SNOW near a Montparnasse kiosk. He was standing there all day long and opening his trench coat for the viewers to see/buy. Ann has purchased his latest pictures, re-issued them and paint them with a very girly item: glitter nail polish. This worked has been censored many times due to the nudity it contains but also because it does not display nudity in a traditional or idealized way.
Greta Lorimer is one of the artists featured in the printed and digital publication Homeland edited by Revolv Collective. The book has been launched in London and presented at Soﬁa Art Week Festival, Bulgaria. Greta is featured in the Fast Forward research project @womeninphoto, in the online galleries LoosenArt and Rossocinabro, in the online magazine OpenEye France, in the digital and printed art magazine ARTIT, in the online platform ArtPil. She has exhibited in Rome, Brighton, London, Paris and Torquay. She will be exhibiting at Brighton Photo Fringe Festival 2020 in October and she will be represented by Rossocinabro Gallery during touring exhibitions/fairs in USA and Asia.
In her series, Carol Letanneur engages, hugs, caresses, questions. She knows how to stop, to return with delicacy where others would already be far away, to get naked where many would keep the mask. This homage to her grandmother plunges into an intimacy on which one usually throws the veil or at best looking away, when one does not close one's eyes. To refuse to see is to refuse to accept the other, one's body; this gaze can of course, be difficult. It is necessary, and to refuse this gaze on a worn, tired, deformed body is to deny it, to take away its life before nature does. There is barbarity in these averted looks. It is her gentle, humane, but resolute way of standing up against this tyranny of empty gazes, the dictatorship of a formatted aesthetic, that touches us, jostles us in Carol Letanneur's photography. Images that don't leave us alone, that constantly come back to inhabit us. How can we forget the transparent, folded, wrinkled skin, the body that has become too small, beyond its decrepitude, of an ageless woman? These photos give us a lesson in dignity, a reassuring hymn to life. Without the complicity of Carol Letanneur and her grandmother, who is anchored in a sincere and rare love, there would only be the photos of an anguishing identity, while in front of her work we are overwhelmed but happy. By holding our eyes open to this body, the strong relationship that unites them gives us the strength to ask ourselves questions about the physical decay, the wear and tear and the rust of the passing of time. Perhaps, when the time comes, like Carol, it helps us to dare an outstretched hand, a caress towards these unbalanced, weakened, sagging bodies that disturb us. It is our own fears, our anxieties in the face of death that we refuse to face. Envisioning this end towards which we are all slipping, this fear of silence that makes us flee the inexorable has always haunted men. There is a shame on society in front of old people and their withered bodies. Simone de Beauvoir asked: "Are old people men? "Carol Letanneur provides an answer in the form of an uppercut, by offering us photographs of a dignified, cheerful, mischievous grandmother.
Emily Larsen earned her B.F.A. in Photography at the School of Visual Arts, NYC. Before fully dedicating her time to the visual arts she earned her B.A. in Psychology at Flagler College, FL. Emily’s work is heavily influenced by her experience as a woman and is fascinated by gender relatio ns. Her enduring interest lies in the space between the human experience and reality. The intangible fuzzy cloud that allows us to continue forward as we rotate between functional ignorance and the horror of realization.
Olga Laz was born in Romania and grew up in France. She learned photography as an autodidact. At first she wanted to illustrate her dreams by juxtaposing photographs of different people and places. Then caught up with the real, she became interested in alienation. The one that we impose on ourselves, like the one that society seeks to submit to us.
Marie Lagabbe is a French photography lover. During her senior high-school year she discovered analog photography with her mother’s AE-1 camera, making her first steps in enlarging pictures in the darkroom of a workshop in her hometown, Aubervilliers. Thirteen years later it is now at home that she’s working, testing, improving and experimenting around this media. Always in search of new techniques, textures and material, she reveals her dark but also colorful world. Collages, drawings, multiple exposures, filmsoup are all elements that feed her rich and fantastical universe of symbols. Marie LBB is now 30 years old and currently lives in Alsace.
Alexandra Laffitte was born in 1982. She comes from Toulouse, lives and works in Paris. After a general school education, her passion for artistic professions – interest that she pursued throughout her childhood – led her to attend a pottery training. More particularly, ceramic decoration before studying visual arts in Toulouse. At the age of 20, she became a photo laboratory assistant for ten years. In 2012, she carried out a career change at the Paris EFET School where she completed the full three-year cycle. In June 2015, Alexandra obtained the CFE EFET diploma with a special distinction for her exhibition theme.
Her photographic work represents a minimalist and refined style, involving a certain stage-setting effort combining aesthetics and design. Fascinated by the development of the body through movement, she adapts her art to the morphology of her models by giving them an attitude, a posture and a presence with an abnormal gesture.
Emilie Hallard, lives and works in Barcelona, Spain. Emilie Hallard was born in 1979 in France. She started photography while living in Barcelona, Spain, as a self-taught photographer. She first worked with a diary-based approach focusing on people and nightlife with an intimate, moody and sensual dialogue before to move on to a more straightforward approach. Nowadays, she is interested in feminism, vulnerability, gender fluidity and issues, sexuality, body positivity and representation (and rocky landscapes to rest her mind). She took part in different group exhibitions and photo festivals in France, Spain, Tunisia and Switzerland. Her work has been published several times in specialized photography webzines. Her passion for photography led her to curatorship and publishing activities (Maria Inc.), to work as an interpreter for the Rencontres d’Arles or photographer Antoine d’Agata or as an assistant at the Galerie Michèle Chomette in Paris.
It’s 2020 and our bodies are still political. The 21st century still drags on with the same beauty standards of the last century. Those of a young, white, thin, ethereal and heterosexual woman. Beauty, or rather a woman’s first commercial asset; is a passport to a happy marriage, professional success and social recognition. Both women and men are bombarded with an infinite amount of photoshopped images, which has alienated them and also driven them on a search for ideal beauty. This claustrophobic and impossible standard has only lead us to eternal comparison, frustration and levels of self-hatred. A blinded population starved by its regimes, which becomes terribly tractable and obedient. Refusing the norm is to choose, as from the vulnerable side as the enthusiastic one, to be incorruptible, faithful to oneself, honest, punk in front of a capitalist system that fathers monstrous children of uniformity and consumerism, all made from the same postcolonial and patriarchal mould. The artist refused the norm. She cherished and desired bodies of all ages, sizes, genders and colours, with intent to deconstruct beauty standards, beginning a quest for honesty, empowerment, acceptance and self-confidence, while gathering the words of her peers and taking a tender look at them. These incorruptible bodies are a celebration of the diverse, the unlikely, the ambiguous, the androgynous, the non-obvious and the non-binary. Les corps incorruptibles is a feminist, queer and anti-racist declaration of love.
Carol Espindola is a photographer and essayist. Winner of the 11th Juried Annuale-International Photography Competition, The Light Factory Gallery (EE.UU. 2019). Winner of the 2016 Essay Award “Emmanuel Carballo” convened by the Government of the State of Tlaxcala. Finalist in the 2nd International Photography Contest San José Photo 2016 (Uruguay). Selected for the Visibility of Portafolios Trasatlántica-Photoespaña 2016. Selected at the Festival Paraty em Foco 2015 (Brazil). Young Creators Scholar of the National Fund for Culture and the Arts (FONCA) 2015-2016. She won the Tlaxcala Visual Arts Prize in 2014 and in 2005. Recently participated in the exhibitions The Family of No Man (Les Rencontres de la photographie d’Arles, 2018), Exposed / Exposed (The Ligth Factory, Charlotte, NC, USA) Vitamin A, at the Vasconcelos Library (Mexico City, 2017) and Everything to see in the FotomuseoCuatrocaminos (Cd. De México, 2016). Her work has been published in magazines such as Tierra Adentro, Picnic and on the CREATORS platform of Vice. She has written the column of photography, Pese a todo, since 2015. She has participated as a speaker in spaces such as the Centro de la Imagen (Mexico City), Amparo Museum (Puebla, Mexico), and in the National Photographic Meeting of INAH (Pachuca, Hidalgo.). She graduated from the 2014 Contemporary Photography Seminar of the Center for Image and CaSa and the Formation Photoessay of the FRCyA ZC (2010). Her work belongs to the collection of the gallery The Light Factory (EU) Museum of Art of Tlaxcala, the Center for Research and Documentation of the Visual Arts of Tlaxcala (Mexico) and private collections such as Allen Blevins, Ery Camara and Cristina de Middel.
Claire Dorn, graduated in photography at ETPA Toulouse, and 10 years photographer light-assistant in parisian fashion studios. Currently photographer for fine art documentation in national and private cultural institutions. The personal photographic work is about questioning the place of women in political and social space.
Amazones, women’s words - This work was born when I first met Xènia. Xènia is mother of a little babyboy. Several months after her delivery, she still felt sad with the C-section she had, and needed to communicate about it. Some questions were raised, in psychological, cultural and social matter. These questions, I wanted to ask them to other ladies and have their testimony. Why a cesarean section, under what conditions, how does the medical profession prepare for this surgical procedure, how are women considered during this operation, how do mothers experience cesarean section before and after the operation, how do they relate to their delivery, to their child, what look do they feel having delivered by a cesarean section. This scar is much more than just a mark on the body, it reveals something of our society, something about the place of women in this society. The photographic projet Amazones started in 2017 and is an on-going project with yet around 30 portraits.
A "social worker", sometimes assistant, sometimes facilitator or educator, for several years Barbara Dits has been moving between the social sector and artistic affinities (music, visual arts, performing arts), building many bridges between the two. But she has also built and developed, over the years, a photographic approach in which traces of human activity, industrial sediments, and signs of recognition of the built and the constructed, occupy a predominant place. This has earned her, over the last fifteen years, as many nominations for prizes as collaborations in participatory workshops in Picardy Wallonia or in exhibitions, thematic or not. ... Refining or confirming the rigour of her work and her gaze; but also affirming, behind the obvious distancing, the taste for empty spaces and the apparent neutrality of the "façade", a very particular and silent attention to the nuance of forms, the emphasis on rhythms, and the singular vibration of architecture and public facilities. Or to put it another way: "to a particular culture, close but meticulously and impartially observed" Emmanuel d'Autreppe.
Chantal Convertini, born 1992 in Schaffhausen, Switzerland, is an artist and photographer. With a huge passion for film photography she points her camera mostly towards humans or towards herself. Her work has been shown in several magazines, online interviews as in exhibitions in Zurich, Paris and Brooklyn, NYC.
The sexualisation and the censorship of bodies, especially those of women is a reflection of how our world is working and it’s a sad truth. But, it's a man’s world and a world about money. In my eyes, the artistic freedom to express oneself with ones body would be a positive change. A voice against the abuse. Young women would have real role models and find a more authentic connection to themselves compared to what is being sold to us. Expression, art and the capability of expressing ones emotions would be something that would finally add to a more wholesome picture. It would bring back a piece of normality and equality in our lives. But with the social media censorship society’s voice comes through again and it is still censoring the victim instead of the perpetrator. I see myself forced to see the truth through Instagram’s eyes instead of through my own. People are being silenced, women are silenced, expression is silenced. In the end, art is silenced. Because it’s the part of our society speaking about inconvenient truths.
Patricia Combacal was born in France in 1971. She lives and works in Toulouse. After studies in Clinical Psychology and Orthophony, she returns to her previous interest in photography with her participation in workshops in Toulouse. Influenced by fashion photography and intimate photography, she conducts several long-time projects in which are also associated drawing and writing. The shooting process is different to each series. For this (S)He series, natural light and a low quality camera are used to create pictures aiming at evoking a universe. All of the series focus on mental life and its creations (affects, dreams, memories) and also on the body and the idea of mutation.
"A long time ago, I shot a series of portraits of young people in my vicinity. Their androgynous beauty fascinated me. For a while, the small envelope of photographs was untouched in a drawer. One summer day, one of my friends contacted me again. She remembered that I wanted a portrait of her and her naked torso. Her decision for a transexual transition had been decided and she wanted to know if I preferred shooting before or after the operation. I asked her if I might shoot the whole intervention. She agreed : the eye of the camera could be a companion to her new self image. So that her privacy, both professional and intimate, was preserved - but also in order to make the series more universal - she must not be recognizable. I mostly shot objects of her environment, as invisibly as possible, in a discreet manner. As a gaze concentrating on details that were already present and that revealed themselves Now in the Line of Proud Clavicles (french title). (S)He is about our encounter. And it tells the story of a small letter E. The small letter E in his name ; that letter E of French grammar that my friend as a feminine boy likes to see appearing in pink and italic."
Angelika Buettner: It’s been my passion, my intuition, my vision, my desire, my obsession, and my quest to reveal and showcase ageless beauty of women over 40 to make us all more visible. Using my camera as a therapeutic tool and instrument of social commentary, I have attempted to capture, something raw and refined, edgy and elegant, honest and pure., Naked portraits of strong women who dare to step out of their comfort zone are finally here. It's been a time of mixed emotions, and a time of change and transformation. Presenting the divine feminine figure of the 21st century We, meaning, the women over 40, who are ready to own their sensuality without being sexualized, stand naked and bare it all. We are so much more than our bodies. I was hoping to strip away all of the make-believe notions of women being perfect, and strip away all the useless insecurities women have imposed on themselves. I had my camera to guide me, and I followed my intuition. And I am happy to report, the perfect imperfect woman was born – She is an honest, fearless and ageless beauty, in all her divine diversity. I believe we are more than how our bodies look in a photograph. We featured several women with scars, breast cancer, surgery etc. For some it was important to show these “so-called” imperfections, as they have worked tirelessly to come to terms with them and are often made stronger by accepting them. The final product is a cross-generational collaboration that touches on universal issues. It speaks to women of all ages and empowers them to become more accepting and more self-assured. This is why the book is so much more than a collection of nude photos and personal statements. The un-retouched women who are over 40 years up to 99, are representative of all the divine feminine women who have pushed themselves out of their comfort zones. These are women who were willing to share their intimate stories, struggles, triumphs, and they are not alone. I believe there are hundreds of thousands more behind them – ready, willing and able. The process of discovering every woman’s essence, and attempting to portray a slice of her world, her vision, and her story has been an honor and a timeless gift.
Carolina Bedoya was born in Bogota Colombia. She has been involved with photography for the past 17 years of her life. She has worked in Colombia and overseas in various photography fields. Nevertheless, she feels highly drawn to new documentary photography in her personal work . She lived in South Africa for over 5 years which also greatly helped to support and secure the interest in a social side looked from an intimate and every day angle. Focused on the use and experimentation of analog photography in all of her personal photography projects, looking for forms of incorporating it into handmade printing such as silkscreen. She has recently finished the creation of her first photo-book called Verdriet which is in search of funding for its publication.
"All of the relationships we have from the moment we are born determine who we are today, and it is through our bodies that we express to others what identifies us. Relating is the most innate and necessary action we do; It is the exchange and the link between two or more that I am interested in revealing without places, particular activities, accessories or clothes that tell us about them, we only have the vulnerability, the truth and complicity of their naked body and their interaction as a vehicle that shows us their relationship. The purpose of this project is to recognize and expose to a large extent the most relevant relationships we encounter throughout our lives and how they influence our development and identity. Relating is the most vital and at the same time the most complex task as human beings. I feel the need to portray these different relationships and try to discover us and accept us. I started this project in South Africa, where relationships are mainly divided by culture, race and sexual inclination, aspects that are very latent in the world and which makes relationships don’t evolve. It is essential for me to show an approach towards equality, unity and celebrate social differentiation; we are a generation with transgressive actions that have the mission of reducing this constant. This project wants to celebrate and contribute to the creation of new perspectives on the existing harmonious social cores that can be created even in the most hostile spaces. I would love for my images to communicate personal acceptance and appreciation and consequently a social one. From intimacy, we can reach community; when we face the reality that our bodies and desires can be very similar and we do not carry negative ideas and taboos on our bodies in relation to the bodies of others, we can find points and paths in common and realized that the less variety we are exposed, the more we will tend to think that there is only one way of being. "
Bibi Joan is an artist from Amsterdam (NL) who studies gender roles, sexuality and power relations. The nude body plays a central role in her work. In her projects, she focuses on the relationship between men and women. She is interested in the way we perceive and interact with each other. What roles do we take on and what are the power dynamics? She explores these themes by combining photography, reflection and dialogue. Her work is often a response to traditional beliefs and stereotypes in our society. She is working at the boundary of research and activism, but her work always has a strong personal approach. With her work she tries to empower humans to free themselves from gender-related as well as body-related stereotypes and taboos.
Shiori Akiba is a photographer who was born and grew up in Japan and is currently based in London. She studied psychology at university. Her career started as a fashion stylist and she gradually became more interested in photography. Then she moved to Paris, studied photography and started working as a freelance photographer.
"[Tangents] Object and Object Nudity and Nudity Line and Line They touch each other and yet never connect Lines that never cross each other No way to come together as one Japanese photographer currently based in London. My idea is based on certain characteristics of Japan, where I was born and raised. In Japan, nudity tends to give people negative impression. I have been questioning the way women are treated in the society and how nudity is often equated with pornography. My inspiration comes from such uneasiness I feel about the world I see."
Jennifer Adler: In my opinion, ‘The future is female’ only works if we do not fight fire with fire. My photography is meant to elicit reflection, laughter and, above all, mutual discussion. The images to which we are exposed everyday shape both our understanding and our perception of our environment. The more pictures that stimulate reflection and the more we challenge the status quo, the more likely mindsets and attitudes will change.
The exhibition opening was March 12th and once we have more information on the re-opening date at the galerie, we will update you here. C*nsorsh*p Pop-up Exhibition can be seen at Galerie &co119 119, rue Vieille du Temple 75003 Paris.
Disclaimer : although this image depicts cisgender people and how social media censors in a transphobic way, we are in no way condoning social media's behavior and are bringing attention to the danger of this kind of thought. The imagery depicted is just one situation of the way social media censors and it does not in any way limit your interpretation. Submissions about censorship based on age, body, childbirth, disability, gender, gender expression, origin, mastectomy, race, sexual orientation (to give you some examples) are accepted, but not limited to these subjects.