• Collective exhibition – Bologna – Palazzo Fantuzzi May > June 2019
• Collective exhibition Parigi – Espace Thorigny – Le Marais June 2019
• Concorso fotografico and Collettiva Genova – Biblioteca Berio Sala Mostre June 2019
• Collective exhibition Venezia during Biennale d’Arte di Venezia 2019 with Galleria Saphira and Ventura Gallery di New York – Galleria Arte Spazio Tempo Venezia June 2019
• Collective exhibition Venezia during the Biennale d’Arte di Venezia 2019 – The Room Contemporary Art Space – San Marco – July 2019
• Collective exhibition Milano – Art Mall September 2019
• Collective exhibition – Biennale arte Milano in the Site Brera – September 2019
• Collective exhibition Londra – Arthill Gallery October 2019
• Collective exhibition New York – Galleria Saphira and Ventura di New York October 2019
• Paratissima Torino Multivercity 15 ma edition – October > November 2019
• Arte Fiera Padova November 2019
• Paratissima Bologna ArtFAir 2020 January 2020
• Collective exhibition Venezia – Galleria Arte Spazio Tempo February > May2020
• Collective exhibition Milano connetc project – Tempio del Futuro Perduto – Fabbrica del Vapore – October 2020
• Paratissima Torino November 2020
• Collective exhibition Parigi progetto “TellMeAstoryEggs-Edition” – Galerie Joseph Turenne – Paris Le Marais during Paris Photo – November 2020
• Collective Piacenza Piacenza Museums – May > June 2021
• Fotografia Europea circuito Off – Reggio nell’Emilia June > July 2021

INTERVIEW: SERAFINA FIGLIUZZI

ITSLIQUID

Interview: Serafina Figliuzzi
Luca Curci talks with Serafina Figliuzzi during ANIMA MUNDI FESTIVAL 2019 – CONSCIOUSNESS at THE ROOM Contemporary Art Space.
Read the interview

#nonècolpasua, alla Biblioteca Berio the exhibition violence against women

IL SECOLO XIX

An exhibition contest at the Berio Library to decide which image is the best collection of violence against women and its dangers.
The images of photographers who have responded to the call for the Decide you project are voted to choose the shot that best represents a warning to public opinion.
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Jail – Bologna

“This is not an enlightened lager that hosts a group of ladies with a renard to institutionalize the painters and sculptors. The other half of the avant-garde, the other side of the medal, is made up of ingenious experimenters, indefatigable promoters of culture themselves, and the territory that stands before us, the great fresco, is never opaque since the works, adding up, crossing each other, even opposing each other in places and over the years, they remain bold emblems of an articulated human condition, created with that non pietas that throws the concept of normality overboard… all the deviations together have yielded a sum of excellent subversions. Here there is no place for cloven madrigals or for cute college simpleries; here is a shaking force, reason for crashes and exaltations. Which means the vigor of a revolutionary and non-rebellious position that has innovated with full self-awareness.”

Lea Vergine

In the words of Lea Vergine there seems to be a rouge file that, invisibly, came back to my mind by observing the photographs of the artist Serafina Figliuzzi emblematically titled, CELLA, CELLA 2, CELLA 3, presented in Bologna on the occasion of the XXIV International Collective of Painting, Sculpture and Photography of the Arte a Palazzo project. LA Figliuzzi places the focus of her lens on female close-ups, with a full black and white, in which the details translate into dramaturgical allegories, eyes veiled with melancholy, lips that betray a sense of inner pain, hands that find the bars of in the face of their freedom. CELLA is the name of a series that consists of complex shots, whose phenomenology takes up not only and not only a primary visual language, but investigates the shadows of a pressing condition, such as prison, inside and beyond bars. Serafina Figliuzzi chooses to show the emotional side, full of an unusual pathos and of a wounding beauty, in which the alienation of imprisonment joins a gender issue, of retrograde social and cultural thought, through which killing can be imagined a salvific process of catharsis. CELLA, CELLA 2 and Cella 3 are lyrical images, oxymorically poetic with which to interact according to the terms of a mechanism free from preconceptions but capable of legitimizing a profound “liberation”. Each phenomenological element contributes to not defining a complete, clean, clear, simple image. Rather, each shot is animated by a shining cut which, semiotically, corresponds to an abecedary with roots imprinted in the hidden unconscious dimensions, inviolable and yet violated by an existential condition to be claimed.

Violence – Paris

“Art must suppress violence”

Lev Tolstoy affirmed and the great Russian genius can be linked to investigate the artistic experience of photography by Serafina Figliuzzi who arrives in the French capital on the occasion of the Selection Artist Galleria Farini in Paris, an international exhibition of art, painting, and photography at the Espace Thorigny – Le Marais, the beating heart of Parisian art. Two works in the catalog and prints on display, plus a third presented in a video exhibition in the hall to close a complex trilogy, extremely characterized by a strong value of denunciation and protest by the artist in defense of women: 148 whiplashes – Nasrin Sotoudeh and Casa dolce Casa the shots accompanied by Loss and Judgment on the video wall. Figliuzzi, not new to a multiple and multiple reflection on the theme of violence against women, through a narrative dramaturgy that is expressed in the photographic metaphor, in the case of the works presented in Paris, goes further and the metaphor of the story is joined by a descriptio which outlines the roles of a hard, incorrect dialogue and which it is necessary to bring out to put a stop to it, in the unheeded scream that comes from the female universe.

The reading of these works proceeds gradually, starting from a first observation, from which a sense of negation will arise in the observer, for the evocative force of the mise en scène and for the cowardice that belongs to the strongest. “148 whiplashes – Nasrin Sotoudeh” recalls the story of the Iranian lawyer accused of propaganda against the government and of having appeared in public without a veil, sentenced to 38 years in prison and 148 lashes…history already old and forgotten . But it is also the story of a thousand other women who are locked up in reception centers, raped, beaten, deprived of freedom, rights, dignity … stories of ordinary madness and violence in front of which there is also the responsibility of those who hide behind political propaganda and small ideologies of absurdity and terror “, says the artist. “Casa dolce Casa” … is evocative of a state of violent and homely silence in which silence wins over human dignity and from which not even childhood is sheltered. Stories of family abuse of boys and girls who in turn will become violent adults in most cases. Stories of missed help and deaf voices, stories of nightmares, of blood and terror about promised and sold girls, stories of stolen years, stories of shame “.

And we could continue with long lists in the silent scream of entire generations and of a cursed chaos that silences the truth. Serafina Figliuzzi through photographic truth reconstructs hidden invisible truths and screams against the society of our it.