Cristina Rizzi Guelfi
DO[O]MESTIC BLISS
My name is Cristina Rizzi Guelfi, I am a self-taught photographer born in Switzerland. After graduating I obtained a master's degree in directing, but later I began to take an interest in photography, honing my skills in both the digital and analogue fields.
My work is linked to the creation of ambiguous and cinematic images that border on the real and the fantastic. I try to give an approach that provokes the contemplation and reconfiguration of clichés through the playful revelation of the bizarre and the mysterious, trying to create a compelling and intimate universe, inhabited by a multitude of different characters, but paradoxically always the same, who explore enigmatic themes.
My work is linked to the creation of ambiguous and cinematic images that border on the real and the fantastic. I try to give an approach that provokes the contemplation and reconfiguration of clichés through the playful revelation of the bizarre and the mysterious, trying to create a compelling and intimate universe, inhabited by a multitude of different characters, but paradoxically always the same, who explore enigmatic themes.
Cristina Rizzi Guelfi "Do[o]mestic Bliss"
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DO [O] MESTIC BLISS
Series inspired by Betty Friedan's book "The Feminine Mystique".
Tucked within colorful magazine pages, the periodicals promised the modern mid-century housewife would find exactly the right information that would give her the knowledge to excel in her role as a suburban wife and mother. Grew up with a generous portion of media stereotypes of happy homemakers who were as frozen and neatly packaged as the processed foods they served their cold war families in their split level homes.
In the midst of all this happy homemaking, some quiet rumblings among some unhappy housewives across the country began to be heard by the fall in 1960..
Series inspired by Betty Friedan's book "The Feminine Mystique".
Tucked within colorful magazine pages, the periodicals promised the modern mid-century housewife would find exactly the right information that would give her the knowledge to excel in her role as a suburban wife and mother. Grew up with a generous portion of media stereotypes of happy homemakers who were as frozen and neatly packaged as the processed foods they served their cold war families in their split level homes.
In the midst of all this happy homemaking, some quiet rumblings among some unhappy housewives across the country began to be heard by the fall in 1960..
"Happy homemakers who were as frozen and neatly packaged as the processed foods they served their cold war families in their split level homes"
Good Housekeeping tapped into this vein of unhappiness with a September article: "I Say: Women Are People Too". The author of the article was Betty Friedan, a 39-year-old freelance writer from New York suburbs.
She sent out questionnaires expecting to be inundated with cheerful stories about successful careers and young families.
But many classmates responded with tales of depression and frustration. It was Friedan's first clue than many thousands of women shared their own dissatisfaction. The questionnaire inspired Betty Friedan to undertake a detailed examination of what she called "the problem that has no name".
She had started a book manuscript by October 1960. The book entitled "The Feminine Mystique" wouldn't be published until 1963. For many women, the problem that had no name was buried as deeply as our missiles were underground but would cause the same explosion when years later they were released. It would begin the slow death knell for the suburban housewife.
She sent out questionnaires expecting to be inundated with cheerful stories about successful careers and young families.
But many classmates responded with tales of depression and frustration. It was Friedan's first clue than many thousands of women shared their own dissatisfaction. The questionnaire inspired Betty Friedan to undertake a detailed examination of what she called "the problem that has no name".
She had started a book manuscript by October 1960. The book entitled "The Feminine Mystique" wouldn't be published until 1963. For many women, the problem that had no name was buried as deeply as our missiles were underground but would cause the same explosion when years later they were released. It would begin the slow death knell for the suburban housewife.