PhotoVogue Festival Echoes: #7 Interview with Gabo Caruso

We created PhotoVogue Festival Echoes to allow those who participated in the event to contribute their voices to the Festival s narrative. During those days in Milan, we recognised our community s desire to come together and draw inspiration from each other s works. We highly value the sharing of experiences and practices, firmly believing that providing dedicated space to each artist can appropriately acknowledge the outstanding projects exhibited in November at the PhotoVogue Festival.

In the episode 7 of PhotoVogue Festival Echoes, Gabo Caruso dived into her project ‘The beauty of being who you are’ in which she portrayed Cora, a young transgender girl, following the child through her life, the everyday struggles and dreams, making visible through photography her existence and her right to be happy and loved. As underlined by the artist, according to the report ‘Suicidality Disparities Between Transgender and Cis Adolescents,’ 55% of trans children admit to having attempted suicide. Society has been always associated transness with stigma, loneliness and all the consequential effects of being relegated at the margins of culture and society. This reportage shows in a delicate and straightforward way that happiness is possible and that there is a immeasurable, pure beauty in showing who you really are to the world. A world that can slowly accompany you in your journey, and accept your true essence. 

Cora (8) jumps on the inflatable during an LGTBI meet- ing in Barcelona. Now she enjoys wearing her hair loose and free. "I feel liberated; even my hair knows it," says Cora. Feeling recognized in her broader environment, the importance of validation and companionship, access to education, health, and sports are fundamental to Cora's growth. Children are bodies that think in motion, inhabiting the world and discovering their multiple identities through exploration. Yet, often, communities, schools, healthcare systems, sports, and government laws do not offer ade- quate support for gender diversities. "If we also consider that society views childhood as a sort of limbo devoid of consciousness, will, or agency—essentially lacking indi- viduality or subjectivity—and that the lives of minors must be subjected to the criteria, desires, and will of adults, in- cluding their parents and guardians, then we might be led to believe that neither sexuality nor gender identity exists at that age. Consequently, one might argue that childhood transsexuality does not exist," explains Juan Gavilán, a philosopher and anthropologist specializing in childhood transsexuality. According to the report by the European Union Agency for Fundamental Rights (FRA), trans peo- ple, or those whose gender identity and/or gender ex- pression does not align with the sex they were assigned at birth, are frequently victims of discrimination, harass- ment, and violence in the European Union (EU).

This is a photograph from the Navarro family archive, showing Cora before her gender transition at the age of
3, playing with her grandmother's shoes. Below is a letter that Cora's mother has written for her to read in the future, about her gender transition: "when you put on your shoes your face would light up" she says.

1.What is your favorite memory of the PhotoVogue Festival 2023?

I was struck by the diversity of voices, visions and approaches. As a photojournalist, I am grateful that we can be part of spaces like this, especially to redefine such a controversial concept as beauty. That a trans girl - as is the case in my work - occupies a space like this, and is part of the redefinition of beauty, is extremely important. From a historical perspective, trans used to be associated with the marginal, the periphery. And for it to be part of PhotoVogue is like taking it out of the periphery and putting it in the centre. This clearly reflects the worldwide change we are experiencing as a society that is tending more and more towards inclusion. Not all photography festivals are able to reflect this and that is very gratifying. My favourite memory was being able to talk about it with different photographers from all over the world, getting to know their work, getting to know each other personally, embracing each other. That s a gift for people in a profession that often feels lonely. PhotoVogue was for me to get close to a diverse, powerful, and valuable community, and to feel a part of it.

2. According to your experience, what are the challenges of a project that lasts many years, in which you follow the subjects in their journey? 

First, commitment and persistence. Maintaining interest and motivation throughout a long project can be difficult. As in any bond in life, the main challenge is to be able to sustain the desire over time. Changes in the bond may be experienced, and as time passes, the relationship may evolve. The person being photographed may change their attitude towards the project, and the photographer must adapt to these changes in order to maintain the authenticity of the work. Circumstances may change. Over the course of several years, it is likely that the subject will experience significant changes in her life, such as moving, job changes, personal relationships, etc. One must be prepared to adapt to these circumstances. It takes a lot of emotional resilience for so much involvement. In my case, the protagonist of my work has experienced many changes. Moving house, changing schools, her mother s illness, new friendships, etc, and no doubt all these vital issues have implications for the work. Ethics and Continuing Consent is another big challenge. The protagonist may change her mind about how images are shared, or about privacy as circumstances evolve.

In my case, my work started when Cora was 7 years old. Today she is 13. Clearly the way of bonding with the camera has changed. We no longer work in the same way. Consent must be at the centre of my work and that is something that is renegotiated all the time. It is also extremely important to maintain coherence in the visual narrative over the years. Not because we can t change anything, but we do need to be aware of how the new images integrate with the existing body of work from years ago. Funding and resources can be another major long-term challenge. Knowing how to properly manage the costs associated with the project. It s a very precarious profession, and you have to be very aware of grants, festivals, portfolio reviews, media publications. Ensure that the work is exhibited and distributed, especially as platforms and distribution channels change over time.

Being able to "sustain" today, (not just a photographic project), is a challenge, because we live in a world that sustains little, that creates ephemeral relationships, and that relies little on process. I believe in processes because it allows me to show my protagonist as a complete subject, not just as a label.  And if I am involved, I also want to involve the audience, and create a much more transformative impact.

3. Throughout the years have you noticed some change in life and challenges that LGBTQ+ people (and their families) have to face? 

Yes, without a doubt. In fact, with my work I want to show that you can be a trans girl and grow up happy, if the environment that used to exclude you now respects and accompanies you. Happiness is not a cis patrimony. We are living in a special time for LGTBIQ people and especially for children. Because in general when we think of LGTBIQ people we think of adults. And trans childhoods exist. And it is possible thanks to the accompaniment of families who decide to respect and accompany. Historically, this did not exist. Cora, the Spanish protagonist of my report, belongs to the first generation to make her transition as a child. It is very revolutionary, it is a huge change compared to previous generations. Of course, it is important to note that the LGTBIQ+ perception and experience may vary according to geographical location, but since I started this work in 2018, in various places around the world, there have been significant advances in terms of recognition and protection of LGBTQ+ rights. There has been an increase in the visibility and representation of LGBTQ+ people in the media, popular culture and politics. This contributes to greater social acceptance and the demystification of stereotypes. As awareness and education about LGBTQ+ issues has advanced, there has been an increase in support from society at large.understanding of gender and sexuality diversity has evolved. More support resources and organisations have emerged to provide emotional support, guidance and practical resources to LGBTQ+ people and their families. But despite progress, many LGBTQ+ people still face significant challenges, including discrimination, violence, lack of family and community acceptance, and barriers to accessing mental health and health care services. There is also a reactionary politics that always threatens to repeal LGTBIQ+ laws, and we need to be vigilant. In the specific case of trans children s families, the challenge is mainly in the legal recognition of their children s gender self-determination in their documents, and this usually happens after a certain age, which leaves younger trans children unprotected. That is why visibility is so important, in a dignified, ethical, respectful way. To tell stories that build bridges of empathy, not stigma. Because there are many ways of being in the world. Reflecting with our photographs all the social change that has taken place for these communities is a great responsibility. I was able to see how Cora was the first trans girl in her school, the first at her paediatrician, in her club. Each new space creates a new possibility, not only for her in concrete terms, but for the new trans people who come after her. All LGTBIQ organisations agree that every time a family, a school, a friend, a health centre, a neighbourhood respects the identity of a child, they are literally "saving her life”.

4. Is there an upcoming project you are working on? 

I continue to work with "CORA". Chapter 1, childhood, is finished. At the moment I am starting chapter 2 of the project, which documents her adolescence. It is an evolutionary and collaborative, long-term project, and my wish is to accompany her visually into adulthood. I am also continuing my research on insemination processes. I am interested in gender issues, and the historical changes they reflect.

Cora plays in the park with a unicorn head. The figure of the unicorn is often present in LGTBI people. In that same park in 2016, she confessed to her mother that she was a girl and no one could see it. Since that day, her fam- ily decided to seek information. The collective of trans- gender people has always existed, but what did not exist before were families who accompanied them. The fact is that, historically, the first place of exclusion of a transgen- der experience was the family: the home, which should function as a refuge of responsible love, ended up being the place that often condemned. Today, many families accompany their children to grow up in freedom, without gender mandates. "When I grow up, I want to be a computer scientist. Or make unicorns," she confesses with a laugh.

Cora poses for the camera on February 9th in her bedroom in Barcelona, Spain. It's her 11th birthday, and she has dyed her hair red. She mentions being drawn to Asian fashion.
Cora's transgender childhood exemplifies the beauty of embracing one's true self. It demonstrates that a trans- gender child can experience a joyful upbringing if the environment, which once marginalized them, now treats them with respect and support.