2026

This proposition for the Girls group show stages a dialogue between two series investigating the representation of femininity and the instability of the image. Drawing inspiration from the myth of Narcissus, it explores the relationship between self-image, perception, and the act of looking.

The image is treated as a mutable surface—one that can bend, dissolve, and be continuously reshaped through perception, memory, and interpretation. Produced blindly in darkness and abruptly flashed, the photographs reveal only a brief instant of strangeness and intimacy.

The work moves between desire, vulnerability, and the tension between exposure and anonymity.

2022

Fragments of debris and memories crumble with time, dissolving into the shadow of your memory. Dark liquid, deeper than the abyss, a secret place where nothing is lost and everything transforms. Subjective death at the threshold of consciousness, an identity that exists beyond the body. This fragile balance of fragments you leave behind is a futile struggle against the erosion of time, both mother and father of a matter in constant motion.

It’s Almost Nothing is the imprint of a memory whose faces have been washed away by time, leaving only the material trace of an eternal fragility. This longitudinal project retraces an identity investigation, grounded in intrinsic observation.

For several months, Giulietta Margot, has collected fragments from her grandfather’s archives — a physician, pharmacologist, and neuroscience researcher — in order to reinterpret the fragility of memory through photographic research.

In parallel, she works with the photographic material itself, exploring the silver relics of forgotten laboratories: papers, films, expired chemicals. She lets them react, transform, and create “non-images” that appear and disappear, in symbiosis with time and chance. Each surface becomes a fragile terrain, a tangible echo of memory eroding, where the visible and the invisible coexist.

It's almost nothing, but almost.

2026

Exhibition views ; LOOP - Zürich (CH)

NOWHERE HOME is an exhibition in what could be a home. It is about homes and about built images of homes.
It showcases photographs by Giulietta Margot of fala’s works. Photographs within homes, and without homes. Photographs as fragmented homeliness.

The intimate and the dreamy confront the designed, the crafted. Cats and columns become shadows, shades of grey. Time is measured in square meters. Square meters are approached as captured light.

fala’s buildings are no more than a case in point. Photography and architecture appear as crippled acts of expression—siamese twins relying on each other to get by. Twin escape routes, away from the objective.

Based on a visual research carried out for Fala, NOWHERE HOME took shape in an editorial format through which Giulietta Margot explore space and its possibilities. The project embodies a sensory and philosophical approach to the house. Confronting the sterility of traditional architectural representation, this photographic work reveals, through analogy, the value of the house as a space of freedom. The tangible rigidity of walls is redefined by a contemporary domesticity. Shielded from the gaze of others, free from all social constructs, rules dissipate. The images do not account for structural logic, which ultimately belongs to their creator, but rather evoke a dimension where time is measured in square meters. A memory of the intimate, the photographs become liminal spaces where the void is grainy and sunsets fade to shades of grey.

Fala is an architecture practice founded in 2013 and based in Porto, Portugal. Its work has been presented and exhibited in various universities and institutions worldwide, and has also been the object of monographic issues of 2G (#80, Walther König, 2019) and A+U (#637, Shinkenchiku, 2023).

NOWHERE HOME is a limited edition of 100 copies, distributed through Exemplo Book, conceived as both a visual and tactile object.

ISBN: 978-898-33-9380-2

2024 - ongoing research

The house is approached as a territory of intimacy, shaped by memory, fiction, and perception. These spaces oscillate between comfort and unease, nostalgia and disturbance, intimacy and estrangement, unfolding like dream sequences in which reality continually dissolves and reconstitutes itself. The photographic process involves both bodily displacement and the circulation of the gaze. Through sustained observation of the surrounding environment, attention lingers on insignificant, fragile, or overlooked elements — the interstices of space and time, like forms of punctuation — in order to articulate suspended moments. Treating the real as an inexhaustible visual material, rich with infinite modulations and variations, the work becomes an invitation to explore the photographic field, where each act of looking has the potential to reveal another dimension.

2024

Exhibition views ; Galerie Strates - Lausanne (CH)

2022

Installation; space of research for Almost Nothing project

2024

Long after the vows have faded and the corsets begin to loosen. Discarded heels beneath tables. Spilled champagne staining white fabric. Abandoned bouquets. Appearances at rest. Dances slipping into disarray. During a wedding, the focus turns away from the ceremony itself and toward its margins. Turning from this theater of love — where gestures, bodies, and emotions follow inherited scripts — attention shifts to what quietly unfolds behind the scenes. Moving beyond expected wedding imagery, the camera records what resists choreography: tender, grotesque, awkward fragments where the spectacle collapses, where love sheds its veil and becomes something raw, ordinary, fragile. By embracing blur, misframing, and photographic “failure,” the work disrupts the normative aesthetics of wedding imagery and resists the production of idealized memory. What surfaces in these interstitial spaces is no longer the myth of love, but its material remainder, vulnerable, contingent, profoundly human.

2024

Acid memories emanate from your lips
Tears of your skin burning my eyes
Riffs cutting through the haze
Fingers reaching, grasping for the void
Endless silence in the roar of pulsing veins
I remember your kiss, so sweet
I remember your sweat, so sour

This issue features Bad Nerves, Ditz, Fomies, The Psychotic Monks, Life, Lost Again, S.g.a.t.v, Viagra Boys, Slift, Swear I Love You, Talk Show, Shame, Warmduscher
— edited alongside graphic designer Dennis Moya

2025

messy sticky sweaty

Front line. Barriers. My 35mm tied to the wrist. Film rolls jammed in pockets.
I plunge into the fog I plunge into sound bodies sweat

For years I've roamed the small venues. The ones still carrying that raw punk spirit.

I slip into the crowd backstage gone in the noise of live.

Damaged goods - gang of Four YOUR KISS SO SWEET YOUR SWEAT SO SOUR This is density.

dense dance heat

A grip on the fleeting a pulse that strikes, vanishes, but leaves you wrecked and alive.

Punk is political. Always been. Resistance in raw form. Not just stance a rupture a dance presence refusal to stay quiet or polite noise as language. noise as photograph. noize as proof it happened.

This issue features Lambrini Girls, High Vis, Gurriers, Tramhaus
— edited alongside graphic designer Dennis Moya

2025

NOIZYZINE is an independent magazine, inked to stain your hands. Featuring Giulietta Margot's photographs, edited alongside graphic designer Dennis Moya, it captures the Swiss punk and alternative scene.

This issue features Coilguns, Wet Leg, The Murder Capital, Vlure, Panic Shack, Sextile, Ġenn