Terms and Conditions
Welcome to TONGUES, provided by Voodoo Voodoo Ltd (“we”, “us”, “our”). Access to and use of this website (“TONGUES”) is provided by us on the basis of a number of important terms and conditions, which are set out in full below.
You should carefully read these terms and conditions (“terms”). When you use TONGUES, you will be legally bound by these terms, which will take effect from your first use of TONGUES. If you do not agree to be legally bound by these terms, then you should not use TONGUES>.
These terms apply generally to the use of TONGUES. Any facility (“Comment Facility”) that we may make accessible to you through TONGUES, enabling you to post messages, comments, information, material or content (a “Contribution”), may have additional special terms attached. If and when a Comment Facility becomes available, you will need to read and agree to be legally bound by those special terms before you post a Contribution or use those sections. If you do not agree to be legally bound by those special terms then you will not be able to post a Contribution.
TONGUES is not intended for distribution to, or use by, any person in a country where that distribution or use would be contrary to local laws or regulations.
Changes to Terms
We are continually seeking to update and improve TONGUES. As a result, we may make changes to TONGUES, including these terms, at any time. You will need to review these terms regularly so that you are aware of any changes we have made. You will be legally bound by the updated or amended terms from the first time that you use TONGUES after we post the changes on-line.
The rights in materials, images, information, data, trade marks, trade names and logos and other content included on TONGUES (“TONGUES content”) are are owned by us or the relevant third party content owner. All rights are reserved and acknowledged. As TONGUES content is protected by a variety of third party rights, you may not copy, adapt, re-publish, make available to the public or print off copies of TONGUES content in any way, or use it other than as part of TONGUES and for your personal non-commercial use, without our prior written permission.
Information which we provide through TONGUES is in outline for information or entertainment purposes only. You should not rely on it.
Third party websites
We do not monitor the content of third party websites and any link provided on TONGUES is solely for your convenience. We cannot therefore accept any responsibility for any third party website. You are responsible for checking and complying with the terms and privacy policies applicable to your use of any third party website.
The extent of our responsibility to you has been determined in the context of the following:
access to TONGUES is provided to you free of charge;
it is your responsibility to determine the suitability of any TONGUES content for any particular purpose to which you wish to put it;
TONGUES does not give instructions and you are responsible for any action or decision you take or do not take as a result of TONGUES content;
It is your responsibility to ensure that your equipment is enabled with appropriate up-to-date virus checking software before you access or use TONGUES.
Whilst we will endeavour to ensure that TONGUES is available to you and that content for which we are responsible is accurate, we cannot make any legal commitment or representation to you that TONGUES will be available at any particular time or that it or any TONGUES content will be of any particular quality or fit for any particular purpose. However, we will exercise reasonable skill and care in providing any service to you.
We can accept no liability to you for any of the following types of loss (should you suffer any of them as a result of your use of TONGUES):
loss which was not foreseeable to you and us when you first accessed or registered to use TONGUES (even if that loss results from the our failure to comply with these terms or our negligence);
any business loss you may suffer, including loss of revenue, profits or anticipated savings (whether those losses are the direct or indirect result of our default);
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We do not give any commitment that TONGUES or any TONGUES content will be available uninterrupted or error free, that defects will be corrected, or that TONGUES or its supporting systems are free of viruses or bugs.
We can accept no liability to you if we fail, or are interrupted or delayed in the performance of any obligation because of:
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any other event not reasonably within our control.
We do not give any commitments or accept any liability to you in respect of TONGUES content provided by other users of the website or third parties other than us.
Nothing in these terms will limit our liability for death or personal injury arising from our negligence.
To the extent that we are practically able to do so, we may terminate your access to any part of TONGUES at any time without notice if you breach any of the terms.
If any of these terms are determined to be illegal, invalid or otherwise unenforceable then the remaining terms shall remain in full force and effect.
These terms shall be governed by and interpreted in accordance with the laws of England and Wales. If you are a consumer, then you may have rights to bring court proceedings in the courts of the country in which you are domiciled. Otherwise, to the fullest extent permitted by law, you and we shall bring all court proceedings in the courts of England and Wales.
© TONGUES — An initiative by Voodoo Voodoo Ltd


Privacy & Cookies Policy
The tongues.cc website is operated by Voodoo Voodoo Ltd (‘TONGUES’).
This privacy policy applies to TONGUES.
We want you to enjoy our website and services secure in the knowledge that we have implemented fair information practices to protect your privacy. By visiting our website, you are accepting the practices described in our privacy policy, including our use of cookies and similar online tracking technologies. If you do not agree to the terms of this privacy policy, please do not use the website.
TONGUES may change this policy from time to time by updating this page and you should regularly check to ensure that you are happy with any changes. This policy was last updated on 11 February 2020.
The policy outlines:
1. General principle
2. How we collect information
3. Types of information we may collect
4. How we use your information
5. How we protect the information we collect
6. Access to your personal information
7. How to contact us
1. General principle
There are two types of information we may collect from you when you use the website: non-personally identifiable information and personally identifiable information. Non-personally identifiable information does not individually identify you, but it may include tracking and usage information about your general location, demographics, use of the website and the internet. Personally identifiable information is information that you voluntarily provide when you set up a user account, subscribe to a newsletter, or query that can individually identify you and may include your name and email address etc.
We do not link non-personally identifiable information to your personally identifiable information.
We do not share either type of information unless required to run the website and services (see third-party services below). We will never sell either type of information.
This privacy policy does not apply to any information collected outside of the website, including offline or through other means (for example, via telephone or through email), unless otherwise stated below or at the time of collection.
2. How we collect information
We collect information when you:
— Ask to be placed on an email newsletter list
Make an enquiry about our services
— Answer a reader survey
— Provide information to us
Links to other websites, social media platforms
Our website may contain links to other websites of interest. However, once you have used these links to leave our website, you should note that we do not have any control over the information that is collected and shared about you. You should exercise caution and look at the privacy statement applicable to the website in question.
You may interact with content on our website through social media platforms we use such as Facebook by using their social features. Examples of social features include ‘liking’ or ‘sharing’ our content. We encourage you to review their policies before using their tools, which can be found at their respective websites. If you’d prefer that these social media platforms do not collect information about the content you share and use, we suggest that you don’t use their tools.
3. Types of information we may collect
The types of information we may collect includes:
— Account information (email address)
— Information you provide through a TONGUES reader survey which might include age range, education level etc
TONGUES is not responsible for any information you have provided in public areas of our website or on our social media platforms, which may then be viewed by other users.
4. How we use your information
The information we collect may be used to help us:
— Provide services you voluntarily subscribed to such as email newsletters
— Improve the quality of our website
— Promote services to you including advising you of updates or changes to our website and services
— Improve the website through reader surveys and feedback
Disclosure to third-party services
As part of providing our website and services to you we use a limited number of third-party services that perform functions on our behalf, including but not limited to website hosting, server monitoring, tracking user behaviour, marketing automation services, and customer service.
We have no control over, and assume no responsibility for, the conduct, practices or privacy policies of these third-party services and encourage you to read the policies of the services we use below:
TONGUES uses the MailerLite marketing automation service to issue newsletters. Find out more about MailerLite’s Privacy Policy and Terms.
When you subscribe to our email newsletters
By clicking ‘Subscribe’ you agree to the following: 
We will use the email address you provide to send you a weekly or monthly email. We also send occasional updates and, no more than once a year, reader surveys. 
The email address/es you provide will be transferred to our external marketing automation service ‘MailerLite’ for processing in accordance with their Privacy Policy and Terms. We use MailerLite to issue our newsletters. We have no control over, and assume no responsibility for, the conduct, practices or privacy policies of MailerLite
You can change your mind at any time by clicking the ‘unsubscribe link’ in the footer of emails you receive from us, or by contacting us at [email protected]. If you want to review and correct the personal information we have about you, you can click on ‘update preferences’ in the footer of emails you receive from us, or by contacting us at [email protected].
5. How we protect the information we collect
We are committed to ensuring that your information is secure. We have taken reasonable measures to protect information about you from loss, theft, misuse or unauthorised access, disclosure, alteration and destruction. No physical or electronic security system is impenetrable however and you should take your own precautions to protect the security of any personally identifiable information you transmit. We cannot guarantee that the personal information you supply will not be intercepted while transmitted to us or third-party service providers. 
Sharing your personal information
We will not disclose your personal information except; (1) as described by this Privacy Policy (2) after obtaining your permission to a specific use or disclosure or (3) if we are required do so by a valid legal process or government request (such as a court order, a search warrant, a subpoena, a civil discovery request, or a statutory requirement). We will retain your information for as long as needed in light of the purposes for which it was obtained or to comply with our legal obligations and enforce our agreements. 
Data transfer
This website is published in the United Kingdom. If you are located in a country outside of these countries and voluntarily submit personally identifiable information to us, you should be aware that information about you will be transferred to this countries. We attempt to comply with local data protection laws to the extent that they may apply to TONGUES. 
Age of consent
Our website is not directed at children under the age of 18 and we do not knowingly collect or maintain information from those we know are younger than 18. If you are younger than 18, you should not submit or post any personally identifiable information to our website. By using the Service, you represent that you are at least 18 years of age.
6. Access to your personal information
You may request a copy of the personal information we hold about you by submitting a written request to [email protected]. We may only implement requests with respect to the personal information associated with the particular email address you use to send us the request. We will try and respond to your request as soon as reasonably practical. When you receive the information, if you think any of it is wrong or out of date, you can ask us to change or delete it for you. 
We take all reasonable steps to ensure the information held is accurate, up-to-date, complete, relevant and not misleading. 
7. Contact us
If you have any questions about our privacy policy or our use of your information, please contact us at [email protected].

Irene Pittatore

March 31 / 2021


Irene Pittatore is a multifaceted artist with an inquisitive approach to the intricate relation between art, gender, identity and socio-economic dynamics. She uses photography, performance, writing and the spoken word to reflect and expose social imbalances and its symptoms, including homelessness and poverty.


Q >Observing and questioning our surroundings — tell us how has your work evolved over time and which themes you pursue?

A >In Italian, we use the same word — “verso” — to indicate the sound an animal makes and the poetic verse. My first works emerged from inner, hidden verses. Growls, brays translated and betrayed in metric ordering units. Like many women without solid tradition in feminist theories and practices, I grew up in the progressive unravelling of oppression, asymmetries of opportunities and expectations, prescriptiveness of the language.

I have sought alliances, engaged in battles for individuation, for a shared and stray education, dealing with one’s own nature, passing through self-representation and an anatomical coring of the language that many female artists and writers have attempted through photography, performance and narration.

Over time, the relationship has become a subject and a method of work. The body has manifested itself as an archive of sediments, being able to become memories or not: deposits that structure gaits, gestures, postures, limps, with which it is essential to come to terms.

Q >What’s the most satisfying part of the creative process?

A >Studying, shifting the gaze and the boundaries of one’s certainties, seeing imaginaries move, freeing one’s own strength and voice, urging people to do the same.

For me, photography, performance and words never cease to be a symptom before being a trace, an instrument of emancipation, a working tool, a decoy, an aggregation device, a medium to be forced, a poetic precipitate, a vector of action.

Q >Could you give us an overview of your project ‘homeless heroines’, and tell us what impact/reactions do you expect your work to provoke on your viewers? 

A >homeless heroines is an artistic project conceived together with Virginia Ruth Cerqua for Cooperativa Animazione Valdocco, a very active social institution that provides care for people at risk of exclusion from economic and social life. ‘homeless heroines’ is the result of a two-year journey dedicated to creating spaces for narration and representation for homeless women. Relying on their own strength only, 12 women of different origins and ages overcome adverse life circumstances on the street or in shelters. These narratives have brought to life unprecedented figures: heroines, saints and vulnerable, tenacious warriors who point to horizons of redemption, imagination and emancipation. A proposal for civic reflection that is extremely urgent in contemporary urban contexts. I hope the project will generate in those who encounter it the same effect that working with these women has produced in the authors: a reversal of stereotypes of marginality and weakness. An opportunity for inspiration coming from the margins, from the invisible, an example of the exercise of strength, intelligence, resistance, the enactment of radical forms of solidarity.

Q >Misrepresented communities — tell us about an empowering story you refuse to forget.

A >In my work I encounter many impressive stories. A recent one: when we entered her room, on Elena’s bedside table was Gombrich’s The Story of Art. She was a homeless woman I met in Casa Sidoli, a support service for adult women offered by the City of Turin. While living on the street, she collected money to buy a Regional Museum Pass. With the pass, she could find shelter in many museums of her city, warm up, use the toilet. She visited all the exhibitions she had not been able to see when she was working. We talked at length about her passion for Matisse.

Q >Which conventions and practices do you think need to be disrupted, challenged or changed in order to support people experiencing homelessness?

A >In Turin, two months ago, the police forcibly evicted homeless people from the city centre, throwing away their blankets, cardboard boxes and confiscating their dogs. This was due to the introduction of a total ban on the use of any animal species for begging. There is a concern to protect the image of Turin as a proper city, as a tourist destination. And above all, there is an ongoing process of blaming, if not criminalising, poverty. I don’t have any ready-made solutions, but I think this is not a good way of approaching the problem.

Some inspiring proposals from the art and social world: the Rethink Homelessness Campaign to dispel homeless stereotypes, the work of The streets barber that gives free haircuts to homeless people, the We are all homeless art project by Willie Baronet, buying and collecting signs from people on the streets since 1993, Little Homeless Homes by Gregory Kloehn, which transforms discarded materials into small shelters, Michael Rakowitz’s paraSITE, an inflatable shelter system that attach to the exterior outtake vents of a building’s heating, as well as Krzysztof Wodiczko’s Homeless Vehicle, which can be extended to provide sleeping, washing, and toilet facilities as well as a can-storage compartment. These proposals were analysed by curator Lisa Parola at the preview of homeless heroines at the Macro Museum in Rome.

Q >How can artistic intervention help us explore activist causes?

A >In my opinion art does not and should not have a “function”. It certainly plays a role in the observation, elaboration, sedimentation and spreading of thought of our time. It can highlight emergencies, shake up our imaginaries, denounce abuses through sound, visual, performative incursion in the traditional and independent art spaces as well as online or in the public sphere, through material works or immaterial interventions, non-linear, non-narrative actions. Besides museum spaces, my artistic practice has infiltrated universities, festivals, social and health centres for addictions or disabilities and recently also digital contexts of education and cultural production. Transformative dialogues start from clothes as receptors of desires and impositions, from hair as organic tissues of connection and manifestation of cultural identities, from the representation of bodies and forms of desire as tools of awareness, knowledge, fight against exclusion and discrimination.

Q >Debates around the Social Fabric — tell us about your project ‘YOU AS ME / In someone else’s shoes’, and tell us which reactions, questions do you hope to ignite?

A >Clothes reveal and codify social roles, belonging, identity. YOU AS ME / In someone else’s shoes is an art project open to individuals and groups who wish to be portrayed in the clothes of others. It investigates and celebrates the vulnerability, the political and poetic potential of bodies that expose themselves to displacement and evade the prescriptiveness of roles, gender categories and status. Through workshops, public performances and photographic series, I am interested in trying to connect diverse cultural and social experiences — different abilities, generations, genders — realising fluid portraits in which people wear clothes and accessories manifesting different cultural roots and belongings. The creation of collective opportunities to discuss inclusion, disseminating images of less “normalised” bodies, can perhaps contribute to non-judgmental, non-discriminating exchange of experiences that seem wrong, “unnatural”, just because they are unfamiliar.

Q >Which things do you think the people around you often take for granted?

A >The accidental nature of privileges. The importance of education. No one can decide where to be born, under what social, economic and cultural conditions. No one can determine the colour of one’s skin, one’s gender identity or sexual preferences. We should consider how our lives are regulated by power relationships, being able to recognise the forms of oppression, in an intersectional perspective, in order to try to counter them.


Irene Pittatore (1979) is an artist and journalist based in Turin (Italy). She writes about contemporary art, feminism and gender identity, with an intersectional perspective. From 2015 to 2017 she was the art contributor for MW — First Gender Neutral Magazine and Playboy. For 15 years, she has also been carrying out projects of documentation and enhancement of heritage, archives and initiatives for public and private institutions.

In 2015, she co-founded Impasse, a cultural association which involves new stakeholders (such as including educational bodies, organisations committed to social inclusion, and academics in various fields) in contemporary art production. Through workshops and artistic projects, Impasse promotes the protection of workers’ rights in the arts and culture sector (R-set. Tools for cultural workers) and promoting its public and social dimensions. She is also part of the board of Comitato Emergenza Cultura Piemonte and Rete al femminile Torino.

Andrea — The Mirror Heroine. Habitat: shelters of homeless people. Mission: promotes the transition from a state of discomfort to greater well-being. Power: assumes the appearance of the person in difficulty, highlighting unexpressed potential. Helper: none. Antagonist: darkness and what prevents you from seeing. Achilles heel: identity crises

Ayla — The Nomad. Habitat: paleozoic ice cap. Mission: takes care of herself and others, on the move. Power: recognizes herbs and medicinal plants. Helper: a little wolf with big ears. Antagonist: motionlessness. Achilles heel: she is deaf

Babelle — The Storyteller. Habitat: the street. Mission: infuses courage through the transmission of her own experience. Power: speaks every language. Helper: black waterproof pencil. Antagonist: rain. Achilles heel: has irritable skin

Costanza — The Mother Heroine. Habitat: comfort zone. Mission: offers shelter to girls. Power: transmits a state of grace. Helper: mother-of-pearl little balls. Antagonist: shadow and her seduction. Achilles heel: ticklish

Eurasia — The Influencer. Habitat: the metropolis. Mission: educates to respect for nature through example. Power: authority. Helper: an ivy and flower headdress that helps her breathe. Antagonist: building speculators. Achilles heel: allergic to fine dust

Fanny — The Guard Of The Bodies. Habitat: wherever danger arises. Mission: protects women from assault. Power: impervious to fear. Helper: a colourful smoke that tames men. Antagonist: aquaplaning. Achilles heel: grows fond of the women she saves

Hop! — The Problem Solver. Habitat: wherever something is broken. Mission: repairs the irreparable. Power: detects the fragile point of things. Helper: appears on the spot. Antagonist: tool thief. Achilles heel: falls asleep

Joie — The Little Girl Heroine. Habitat: playgrounds. Mission: brings adults back to childhood games. Power: makes everyone laugh out loud. Helper(s): little teddy bears. Antagonist: mockery of others. Achilles heel: distracted by cartoons

Parca — The Curandera. 
Habitat: happy hour. Mission: preserves the beauty of bodies. Power: creates 100% natural healing potions. Helper: bee venom. Antagonist: blowout meals. Achilles heel: suffers from back pain

Senza Nome — The Stand-in. Habitat: the changing room. Mission: replaces professionals unable to go to work. Power: so quick to change. Helper: suitcases full of uniforms. Antagonist: public transport strike. Achilles heel: can’t drive

Tisha — The Talent Scouter. Habitat: school. Mission: develops children’s talents. Power: infallible intuition. Helper: none. Antagonist: bad school reforms. Achilles heel: eats only fried plantain

Trilù — The Anxiolytic Heroine. Habitat: uplands. Mission: to relieve suffering. Power: telepathy. Helper: a terry headdress that absorbs anxiety and releases it into the atmosphere. Antagonist: electromagnetic waves. Achilles heel: suffers from aura headache

YOU AS ME / In someone else’s shoes

YOU AS ME / In someone else’s shoes