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Photographing bands playing onstage has always been a privilege. My photographic practice is anchored in the fanzine ideology of ‘a refusal to be passive’. It represents the self through the lenses of authenticity, immediacy, imperfection and urgency. I hope that my photographic outputs worth decades of music fanzine ethos will open up the democratic conversation inherent to the fanzine subculture. I dream that by representing those at the margins through words and photographs I will actively participate in the re-writing of the history of popular music – and thus challenge its dominant representation. In 2012, I – an adopted Korean brought up by a French family – travelled to South Korea with my adoptive mother to connect to source. When I came back to the UK I started to see my obsessive photographing of white popular music as a mark of subordination to white hegemonic power. Was I ready to throw away three decades of hard work that earned me the privilege of being backstage and in the photographers’ pit? No. Nowadays, I don’t photograph as many concerts as I used to, but I still very much enjoy the practice. Feet firmly on the ground, I dream of challenging the dominant narrative and I feel a sense of excitement.