Searching for myself through remote skins
Renata Fabbri is glad to present Searching for myself through remote skins, a project curated by Bianca Baroni which gathers works by nine international artists such as Rebecca Ackroyd, Gabriele Beveridge, Bea Bonafini, Irene Fenara, Beatrice Gibson, Lydia Gifford, Goldschmied & Chiari e Catherine Parsonage.
Inspired by Luce Irigaray’s text Perhaps cultivating touch can still save us, the title of the show indicates the physical experience of the other as a fundamental premise in the articulation of the self. In some of the most salient passages of Irigaray’s essay, the author suggests that touch does not simply underlie an intimate encounter with another subject, but it actually plays a crucial role in the definition of one’s own identity. The process of identification of one’s own nature through tactile experience is here imagined as an actual path, a journey through the landscape of the body and its social habitat, two territories appearing as both exotic and familiar. Departing from some of the key propositions that constitute Irigaray’s theoretical contribution, the present exhibition proposes a dialogue among a series of artistic practices incarnating different languages and researches and yet manifesting a shared sensitivity in relation to the idea of intimacy. The works featured in the exhibition subtend different approaches and perspectives in relation to such concept. They highlight reciprocities and contradictions that characterize this notion within the personal and creative sphere of each artist, as well as within the broader socio-cultural arena in which they operate. Besides manifesting itself through those gestures foregrounding each artistic process, the idea of touch is explored through materials and objects specifically conceived in relation to the body and to those daily rituals that implicate it. However the exhibition also travels along radically different trajectories, questioning the supposed correlation between touch and the articulation of an intimate relation. In some of the exhibited works, the tactile experience is completely abstracted from the reality of the body in order to become pure suggestion. In certain cases the portrayal of the body retraces a simulation of physicality or – better yet – the tactile feeling of a bodily surface. In other cases such representation is focused on a particular aspect of the body that, being alienated from the totality of its apparatus, becomes the fulcrum of a self-standing, abstract composition.
Developing on diverse conceptual and visual levels, the project deconstructs and re-imagines the idea of intimacy through a fluid negotiation between the reality of the body and its erotization, between artistic and popular imaginaries, between the public and the private dimension, between science-fiction and historical narratives, between the definition of the self and its dissolution through the digital space.
Renata Fabbri is glad to present Searching for myself through remote skins, a project curated by Bianca Baroni which gathers works by nine international artists such as Rebecca Ackroyd, Gabriele Beveridge, Bea Bonafini, Irene Fenara, Beatrice Gibson, Lydia Gifford, Goldschmied & Chiari e Catherine Parsonage.
Inspired by Luce Irigaray’s text Perhaps cultivating touch can still save us, the title of the show indicates the physical experience of the other as a fundamental premise in the articulation of the self. In some of the most salient passages of Irigaray’s essay, the author suggests that touch does not simply underlie an intimate encounter with another subject, but it actually plays a crucial role in the definition of one’s own identity. The process of identification of one’s own nature through tactile experience is here imagined as an actual path, a journey through the landscape of the body and its social habitat, two territories appearing as both exotic and familiar. Departing from some of the key propositions that constitute Irigaray’s theoretical contribution, the present exhibition proposes a dialogue among a series of artistic practices incarnating different languages and researches and yet manifesting a shared sensitivity in relation to the idea of intimacy. The works featured in the exhibition subtend different approaches and perspectives in relation to such concept. They highlight reciprocities and contradictions that characterize this notion within the personal and creative sphere of each artist, as well as within the broader socio-cultural arena in which they operate. Besides manifesting itself through those gestures foregrounding each artistic process, the idea of touch is explored through materials and objects specifically conceived in relation to the body and to those daily rituals that implicate it. However the exhibition also travels along radically different trajectories, questioning the supposed correlation between touch and the articulation of an intimate relation. In some of the exhibited works, the tactile experience is completely abstracted from the reality of the body in order to become pure suggestion. In certain cases the portrayal of the body retraces a simulation of physicality or – better yet – the tactile feeling of a bodily surface. In other cases such representation is focused on a particular aspect of the body that, being alienated from the totality of its apparatus, becomes the fulcrum of a self-standing, abstract composition.
Developing on diverse conceptual and visual levels, the project deconstructs and re-imagines the idea of intimacy through a fluid negotiation between the reality of the body and its erotization, between artistic and popular imaginaries, between the public and the private dimension, between science-fiction and historical narratives, between the definition of the self and its dissolution through the digital space.
info@renatafabbri.it
Lydia Gifford, Searching for myself through remote skins, 2018Cardboard, cotton, towel, wood, nails, glue, white clay, oil paint, acrylic, 78,5x87x50 cm
Bea Bonafini, Slick Submissions, 2018Pastel on wool and nylon inlayed carpets, 426x366 cm (detail)
Bea Bonafini, Slick Submissions, 2018Pastel on wool and nylon inlayed carpets, 426x366 cm (detail)
Bea Bonafini, Slick Submissions, 2018Pastel on wool and nylon inlayed carpets, 426x366 cm
Beatrice Gibson, Agatha, 2012Colour, sound, 16 mm transferred to HD Video, 14 minutes
Catherine Parsonage, Untitled (for V.W), 2018Acrylic on canvas, 28x35 cm
Catherine Parsonage, Untitled (Ear painting), 2018Acrylic on canvas, 110x200 cm
Gabriele Beveridge, Perfect Clearance Towering, 2018Found poster, hand-blown glass, steel hardware, artists frame, 39x62x23 cm
Gabriele Beveridge, Skin for either one, 2017Found poster, granite, 50x83x7,5 cm
Goldschmied & Chiari, Enjoy, 2006Resin silicone sculpture, 10 cm spheres diameter, 2 mt
Goldschmied & Chiari, Enjoy, 2006Resin silicone sculpture, 10 cm spheres diameter, 2 mt
Irene Fenara, Photo from surveillance camera, 2018Digital print, 50x88,8 cm
Irene Fenara, Photo from surveillance cameraDigital print, 75x100 cm
Lydia Gifford, Harbour, 2018Canvas, wood, nails, white clay, oil paint, acrylic, string, towel, 240x139x11 cm
Lydia Gifford, Caps, 2018Towel on board, glue, nails, oil paint, wood, 43x34,5x9 cm
Rebecca Ackroyd, Husk, 2017Somerset satin paper, gouache, charchoal, soft pastel, 125x78 cm
Rebecca Ackroyd (UK, 1987) lives and works in London. In 2015 she took a Post Graduate Diploma in Fine Art at the Royal Academy, London. In 2010 she got a BA in Fine Art at Byam Shaw School of Art, London.
She has had some solo shows such as: Fondazione Pomodoro, Milan, IT (2020); Peres Projects, Berlin (2018); Galleri Opdahl, Stavanger, Norway (2017); Zabludowicz Collection, London (2017); Outpost Gallery, Norwich (2017); Hunter/Whitfield, London (2015). Her work has been presented in many group exhibitions among: 4 x 1 = 30, Christine Koenig Gallerie, Vienna, AT (2020); 15e Biennale de Lyon, Lyon, FR (2019); These Rotten Words, Chapter Gallery, Cardiff (2017); Bloody Life, Herald Street, London (2016); Art Icon, Whitechapel Gallery, London (2016); Is it heavy or is it light, Assembly Point, London (2016); Works in residence, David Roberts Art Foundation, London (2015); The London Open, Whitechapel Gallery, London (2015).
Rebecca Ackroyd (UK, 1987) lives and works in London. In 2015 she took a Post Graduate Diploma in Fine Art at the Royal Academy, London. In 2010 she got a BA in Fine Art at Byam Shaw School of Art, London.
She has had some solo shows such as: Fondazione Pomodoro, Milan, IT (2020); Peres Projects, Berlin (2018); Galleri Opdahl, Stavanger, Norway (2017); Zabludowicz Collection, London (2017); Outpost Gallery, Norwich (2017); Hunter/Whitfield, London (2015). Her work has been presented in many group exhibitions among: 4 x 1 = 30, Christine Koenig Gallerie, Vienna, AT (2020); 15e Biennale de Lyon, Lyon, FR (2019); These Rotten Words, Chapter Gallery, Cardiff (2017); Bloody Life, Herald Street, London (2016); Art Icon, Whitechapel Gallery, London (2016); Is it heavy or is it light, Assembly Point, London (2016); Works in residence, David Roberts Art Foundation, London (2015); The London Open, Whitechapel Gallery, London (2015).
Gabriele Beveridge (Hong Kong, 1985) lives and works in London. In 2010 he got a master’s degree in Fine Arts at Slade School of Art, in 2007 he got a BA in photography at Falmouth College of Arts.
Some of his solo shows include: Parisian Laundry, Montreal (2017); CHEWDAY’S, Frieze Focus, London (2016); Deweer Gallery, Otegem (2016); CHEWDAY’S, London (2016); MOT International, Bruxelles (2015); Elizabeth Dee, New York (2014); La Salle de Bains, Lyon (2014); Zabludowicz Collection, London (2014); Van Horbourg, Zurich (2013). Some of his collective exhibitions include: Echoes of the Ornamental Garden, Seventeen, Londra (2018); Folly, EMALIN, Stirling, Scotland (2016); National Gallery 2: Empire, CHEWDAY’S, London (2015); Summertime, Gallerist, Istanbul (2015); Pre-Pop to Post-Human, Hayward Gallery, London (2015); Between the lines, Galería Agustina Ferreyra, San Juan (2014); Display, University of Connecticut Contemporary Art Gallery, Connecticut (2014); La Chose Encadree, Glasgow International (2014); Comrades of Time Comrades of Time, Cell Project Space, London (2013); Desire, Yancey Richardson Gallery, New York (2013).
Gabriele Beveridge (Hong Kong, 1985) lives and works in London. In 2010 he got a master’s degree in Fine Arts at Slade School of Art, in 2007 he got a BA in photography at Falmouth College of Arts.
Some of his solo shows include: Parisian Laundry, Montreal (2017); CHEWDAY’S, Frieze Focus, London (2016); Deweer Gallery, Otegem (2016); CHEWDAY’S, London (2016); MOT International, Bruxelles (2015); Elizabeth Dee, New York (2014); La Salle de Bains, Lyon (2014); Zabludowicz Collection, London (2014); Van Horbourg, Zurich (2013). Some of his collective exhibitions include: Echoes of the Ornamental Garden, Seventeen, Londra (2018); Folly, EMALIN, Stirling, Scotland (2016); National Gallery 2: Empire, CHEWDAY’S, London (2015); Summertime, Gallerist, Istanbul (2015); Pre-Pop to Post-Human, Hayward Gallery, London (2015); Between the lines, Galería Agustina Ferreyra, San Juan (2014); Display, University of Connecticut Contemporary Art Gallery, Connecticut (2014); La Chose Encadree, Glasgow International (2014); Comrades of Time Comrades of Time, Cell Project Space, London (2013); Desire, Yancey Richardson Gallery, New York (2013).
Bea Bonafini (Bonn, 1990) lives and works between London and Rome. She received a BA in Fine Art from the Slade School of Fine Art, London, in 2014, and a MA in Painting form the Royal College of Art, London, in 2016. She works across painting, drawing, sculpture, ceramics, tapestry and textiles, expanding their corresponding formal interrelationships. Bonafini’s interdisciplinary practice draws from oneiric visions, overlapping personal and ancient mythologies. Her tactile, intimate worlds center around sensuality, vulnerability and fantasy, forming swirling scenarios that are fragmented and multi-layered. Figures are evanescent and transcendental, referencing spiritual imagery where fluid bodies collide, disperse, swim, fly and fall, openings to encounters between the earthly and the otherworldly. Holistic perspectives are developed in close dialogue with architecture, where space is approached as an extension to the work to envelop the viewer. Bonafini’s solo exhibitions include Nosbaum Reding, Luxembourg (2022); Bosse & Baum, London (2022 and 2019); Museo di Roma in Trastevere, Rome (2022); Setareh Gallery, Berlin (2022); LAAA (Laboratorio de Arte, Arquitectura y Arqueología), Mexico City (2022); Renata Fabbri, Milan (2021 and 2018); Eduardo Secci, Florence (2021); Operativa, Rome (2020); Chloe Salgado, Paris (2019); Lychee One Gallery, London (2018); Zabludowicz Collection, London (2017); and Fieldworkds Gallery, London (2017). She has participated in group exhibitions at JARILAGER Gallery, Cologne (2022); Cob Gallery, London (2021); Larsen Warner, Stockholm (2020); Rolando Anselmi, Berlin (2019); Renata Fabbri, Milan (2018), amongst others. Residencies include: Palazzo Monti, Brescia (2021); Rosa Lee Travel Grant, British School at Rome (2020); Abbey Scholarship, British School at Rome (2019–20); La Berlugane-Maleki Residency and Commission Beaulieu-sur-Mer, France (2019); Platform Southwark Studio Residency, London (2018), Fibra Residency, Colombia (2018); Fieldworks Studio Residency, London (2017); Villa Lena, Toiano, Italy (2016); and The Beekeepers Residency, Castro Marim, Portugal (2015).
Bea Bonafini (Bonn, 1990) lives and works between London and Rome. She received a BA in Fine Art from the Slade School of Fine Art, London, in 2014, and a MA in Painting form the Royal College of Art, London, in 2016. She works across painting, drawing, sculpture, ceramics, tapestry and textiles, expanding their corresponding formal interrelationships. Bonafini’s interdisciplinary practice draws from oneiric visions, overlapping personal and ancient mythologies. Her tactile, intimate worlds center around sensuality, vulnerability and fantasy, forming swirling scenarios that are fragmented and multi-layered. Figures are evanescent and transcendental, referencing spiritual imagery where fluid bodies collide, disperse, swim, fly and fall, openings to encounters between the earthly and the otherworldly. Holistic perspectives are developed in close dialogue with architecture, where space is approached as an extension to the work to envelop the viewer. Bonafini’s solo exhibitions include Nosbaum Reding, Luxembourg (2022); Bosse & Baum, London (2022 and 2019); Museo di Roma in Trastevere, Rome (2022); Setareh Gallery, Berlin (2022); LAAA (Laboratorio de Arte, Arquitectura y Arqueología), Mexico City (2022); Renata Fabbri, Milan (2021 and 2018); Eduardo Secci, Florence (2021); Operativa, Rome (2020); Chloe Salgado, Paris (2019); Lychee One Gallery, London (2018); Zabludowicz Collection, London (2017); and Fieldworkds Gallery, London (2017). She has participated in group exhibitions at JARILAGER Gallery, Cologne (2022); Cob Gallery, London (2021); Larsen Warner, Stockholm (2020); Rolando Anselmi, Berlin (2019); Renata Fabbri, Milan (2018), amongst others. Residencies include: Palazzo Monti, Brescia (2021); Rosa Lee Travel Grant, British School at Rome (2020); Abbey Scholarship, British School at Rome (2019–20); La Berlugane-Maleki Residency and Commission Beaulieu-sur-Mer, France (2019); Platform Southwark Studio Residency, London (2018), Fibra Residency, Colombia (2018); Fieldworks Studio Residency, London (2017); Villa Lena, Toiano, Italy (2016); and The Beekeepers Residency, Castro Marim, Portugal (2015).
Irene Fenara (1990) lives and works in Bologna. Her work investigates the gesture behind every photographic operation: watching. In particular, she observes, investigates and interprets the way machines look. There are hundreds of mechanical glances in front of which we pass every day. Irene Fenara focuses on surveillance cameras. Devices introduced and spread for reasons of control and security, or rather to protect us from others, also trigger a series of insecurities. The images they show are often unclear, dirtied by a series of errors, such as an obstacle in front of the lens, a lack of resolution or an evident chromatic alteration. Just like our eyes, they (re)see and transform reality, catapulting us into an alternative and mysterious universe.
Her work has been exhibited in public and private institutions such as Fondazione Prada Osservatorio, Milan (2016); Fondazione Fotografia, Modena (2017); MAMbo – Museum of Modern Art, Bologna (2018); Palazzo delle Esposizioni, Rome (2018); Kunst Merano Arte, Merano (2019); Villa Merkel, Esslingen (2020); ZERO…, Milan (2021); Triennale, Milan (2021); MACRO, Rome (2021), ICA, Milan (2022) and MAXXI, Rome (2022).
Irene Fenara (1990) lives and works in Bologna. Her work investigates the gesture behind every photographic operation: watching. In particular, she observes, investigates and interprets the way machines look. There are hundreds of mechanical glances in front of which we pass every day. Irene Fenara focuses on surveillance cameras. Devices introduced and spread for reasons of control and security, or rather to protect us from others, also trigger a series of insecurities. The images they show are often unclear, dirtied by a series of errors, such as an obstacle in front of the lens, a lack of resolution or an evident chromatic alteration. Just like our eyes, they (re)see and transform reality, catapulting us into an alternative and mysterious universe.
Her work has been exhibited in public and private institutions such as Fondazione Prada Osservatorio, Milan (2016); Fondazione Fotografia, Modena (2017); MAMbo – Museum of Modern Art, Bologna (2018); Palazzo delle Esposizioni, Rome (2018); Kunst Merano Arte, Merano (2019); Villa Merkel, Esslingen (2020); ZERO…, Milan (2021); Triennale, Milan (2021); MACRO, Rome (2021), ICA, Milan (2022) and MAXXI, Rome (2022).
Beatrice Gibson is a french-british filmmaker based between London and Palermo. Her films are known for their experimental and emotive nature. Exploring the personal and the political and drawing on cult figures from experiment literature and poetry – from Kathy Acker to Gertrude Stein – they are often populated by friends and influences and cite and incorporate co-creative and collaborative processes and ideas. Gibson is twice winner of The Tiger Award for Best Short Film, Rotterdam International Film Festival, in 2009 and 2013 respectively. In 2013 she was shortlisted for The Jarman Award for Artist’s film and the 2013–15 Max Mara Art Prize for Women. In 2015 she won the 17th Baloise Art Prize, Art Basel. Most recently she was the winner of the Images Festival Marian McMahon Akimbo Award for Autobiography 2019 and was shortlisted a second time for the 2019 Jarman Award for Artist’s film.
Gibson has recently had recent solo exhibitions at Camden Arts Centre, London, Bergen Kunsthall, Bergen Mercer Union, Toronto (2019) and KW Institute for Contemporary Art, Berlin, (2018). Her films have shown at film festivals around the word, including at New York Film Festival, Toronto International Film Festival, London Film Festival, Oberhausen Film Festival, Courtisane Film Festival, Punto De Vista International Documentary Film Festival and many more.
Her latest film premiered at Quinzaine (Directors Fortnight)Cannes Film Festival 2019. She is currently developing two new films: her first feature with BBC films, a love story, as well as an adaptation of Euripedes’ Alkestis. Alketis will be the subject of upcoming exhibitions and site specific installations at Ordet, Milan and Macro, Rome. Gibson’s films are distributed by LUX, London.
Beatrice Gibson is a french-british filmmaker based between London and Palermo. Her films are known for their experimental and emotive nature. Exploring the personal and the political and drawing on cult figures from experiment literature and poetry – from Kathy Acker to Gertrude Stein – they are often populated by friends and influences and cite and incorporate co-creative and collaborative processes and ideas. Gibson is twice winner of The Tiger Award for Best Short Film, Rotterdam International Film Festival, in 2009 and 2013 respectively. In 2013 she was shortlisted for The Jarman Award for Artist’s film and the 2013–15 Max Mara Art Prize for Women. In 2015 she won the 17th Baloise Art Prize, Art Basel. Most recently she was the winner of the Images Festival Marian McMahon Akimbo Award for Autobiography 2019 and was shortlisted a second time for the 2019 Jarman Award for Artist’s film.
Gibson has recently had recent solo exhibitions at Camden Arts Centre, London, Bergen Kunsthall, Bergen Mercer Union, Toronto (2019) and KW Institute for Contemporary Art, Berlin, (2018). Her films have shown at film festivals around the word, including at New York Film Festival, Toronto International Film Festival, London Film Festival, Oberhausen Film Festival, Courtisane Film Festival, Punto De Vista International Documentary Film Festival and many more.
Her latest film premiered at Quinzaine (Directors Fortnight)Cannes Film Festival 2019. She is currently developing two new films: her first feature with BBC films, a love story, as well as an adaptation of Euripedes’ Alkestis. Alketis will be the subject of upcoming exhibitions and site specific installations at Ordet, Milan and Macro, Rome. Gibson’s films are distributed by LUX, London.
Lydia Gifford (UK, 1979) lives and works in London. She works with painting and sculpture. She uses paint to transform a wide array of textiles in the service of abstract minimalist works with surfaces that are often craggy, layered, and twisted. One of the key elements of Lydia’s art is the relation between her works and the surroundings, a relation that creates a sort of game between absence and affirmation, a subltle negotiation, like a silent music composition.
Her work has been exposed in many solo and group shows such as: Malborough, London (2023); Martin Z. Margulies Foundation, NYFA (2021); Super Dakota, Bruxelles (2018); Centre International d’Art et du Paysage, Ile de Vassiviere, France (2016); Laura Bartlett Gallery, London (2015); Kunsthaus Baselland, Basel, (2013); David Roberts Art Foundation, London (2012); Galerie Micky Schubert, Berlin (2012).
Lydia Gifford (UK, 1979) lives and works in London. She works with painting and sculpture. She uses paint to transform a wide array of textiles in the service of abstract minimalist works with surfaces that are often craggy, layered, and twisted. One of the key elements of Lydia’s art is the relation between her works and the surroundings, a relation that creates a sort of game between absence and affirmation, a subltle negotiation, like a silent music composition.
Her work has been exposed in many solo and group shows such as: Malborough, London (2023); Martin Z. Margulies Foundation, NYFA (2021); Super Dakota, Bruxelles (2018); Centre International d’Art et du Paysage, Ile de Vassiviere, France (2016); Laura Bartlett Gallery, London (2015); Kunsthaus Baselland, Basel, (2013); David Roberts Art Foundation, London (2012); Galerie Micky Schubert, Berlin (2012).
Sara Goldschmied (1975) and Eleonora Chiari (1971) are an artist duo from Italy. From 2014 they work with the name Goldschmied & Chiari. They live in Milan.
Some of their exhibitions include: Museo Novecento, Florence (2019); The Open Box, Milan (2018); Kristen Lorello , New York and Renata Fabbri, Milan (2017); Kristen Lorello, New York (USA) (2014); Gonzalez y Gonzalez gallery, Santiago, Chile (2010).
Goldshmied & Chiari have worked with many national and international institutions among: Museo San Telmo, San Sebastián (2016); MAXXI, Rome (2015); Fundació Joan Miró, Barcellona (2015); Fábrica de Arte Cubano, L’Avana (2014); MAMbo, Bologna (2013); Goethe Institut, Bruxelles (2013); Castello di Rivoli (2012); Hallwalls Contemporary Arts Center, Buffalo (2011); MOCA, Shanghai (2010); Fondazione Sandretto Re Rebaudengo, Turin (2002). They took part in the third edition of The Nanjing International Art Festival – New Baijia Lake Museum, Nanjing (2016); the fifth edition of Video Zone International Video Art Biennial – Center for contemporary art, Tel Aviv (2010). In 2015 some of their works have been selected from National Museum of Women in the Arts (NMWA), Washington D.C. and from Museo del Novecento in Milan (2015).
They published many books and articles. their latest book is: “Goldschmied & Chiari, La démocratie est illusion, conversation with M. Beccaria”, texts by E. Bernard, I. Bonacossa, Cura.Books, Rome (2016).
Sara Goldschmied (1975) and Eleonora Chiari (1971) are an artist duo from Italy. From 2014 they work with the name Goldschmied & Chiari. They live in Milan.
Some of their exhibitions include: Museo Novecento, Florence (2019); The Open Box, Milan (2018); Kristen Lorello , New York and Renata Fabbri, Milan (2017); Kristen Lorello, New York (USA) (2014); Gonzalez y Gonzalez gallery, Santiago, Chile (2010).
Goldshmied & Chiari have worked with many national and international institutions among: Museo San Telmo, San Sebastián (2016); MAXXI, Rome (2015); Fundació Joan Miró, Barcellona (2015); Fábrica de Arte Cubano, L’Avana (2014); MAMbo, Bologna (2013); Goethe Institut, Bruxelles (2013); Castello di Rivoli (2012); Hallwalls Contemporary Arts Center, Buffalo (2011); MOCA, Shanghai (2010); Fondazione Sandretto Re Rebaudengo, Turin (2002). They took part in the third edition of The Nanjing International Art Festival – New Baijia Lake Museum, Nanjing (2016); the fifth edition of Video Zone International Video Art Biennial – Center for contemporary art, Tel Aviv (2010). In 2015 some of their works have been selected from National Museum of Women in the Arts (NMWA), Washington D.C. and from Museo del Novecento in Milan (2015).
They published many books and articles. their latest book is: “Goldschmied & Chiari, La démocratie est illusion, conversation with M. Beccaria”, texts by E. Bernard, I. Bonacossa, Cura.Books, Rome (2016).
Catherine Parsonage (b. 1989, Birkenhead) lives and works between London and Rome. In 2011 she got a BA in Fine Art at the Manchester Metropolitan University. In 2013 she got a MA in Painting at Royal College of Art, London. Her work combines painting, sculpture, performance and poetry. She mixes personal experiences with a wide range of literary references including novels, mythological narrative and poetry. Her works explore different emotions and identities and they generate figures suspended between reality and imagination.
Some of her projects include: Convivium, Bosse and Baum, London (2018), Present Future Section, Artissima, Turin (2017); GRANPALAZZO, Bosse and Baum, Zagarolo (2016); Art Rotterdam, House of Egorn, Rotterdam (2016); A wrist that turns, House of Egorn, Berlin (2016). She took part in many solo and collective exhibitions among: Michael Pennie Gallery, Bath Spa University; Terrace Gallery, London(2022); Materia, Rome (2021); Clima, Milan; Bosse & Baum, Marseille (2019); Renata Fabbri, Milan; Fondazione Giuliani, Roma (2018); Yellowspace, Varese (2018); House of Egorn, Berlino (2018); Garbo’s, Roma (2017); British School at Rome, Rome (2017); Hotel Contemporary, Milano (2017).
Catherine Parsonage (b. 1989, Birkenhead) lives and works between London and Rome. In 2011 she got a BA in Fine Art at the Manchester Metropolitan University. In 2013 she got a MA in Painting at Royal College of Art, London. Her work combines painting, sculpture, performance and poetry. She mixes personal experiences with a wide range of literary references including novels, mythological narrative and poetry. Her works explore different emotions and identities and they generate figures suspended between reality and imagination.
Some of her projects include: Convivium, Bosse and Baum, London (2018), Present Future Section, Artissima, Turin (2017); GRANPALAZZO, Bosse and Baum, Zagarolo (2016); Art Rotterdam, House of Egorn, Rotterdam (2016); A wrist that turns, House of Egorn, Berlin (2016). She took part in many solo and collective exhibitions among: Michael Pennie Gallery, Bath Spa University; Terrace Gallery, London(2022); Materia, Rome (2021); Clima, Milan; Bosse & Baum, Marseille (2019); Renata Fabbri, Milan; Fondazione Giuliani, Roma (2018); Yellowspace, Varese (2018); House of Egorn, Berlino (2018); Garbo’s, Roma (2017); British School at Rome, Rome (2017); Hotel Contemporary, Milano (2017).
- Bea Bonafini
- Bea Bonafini
ALA Art Prize 23 goes to Bea Bonafini with the project “Acque Amare”
- Bea Bonafini,
- Andrea Martinucci,
- Serena Vestrucci
Oct 14 – 16, 2022
Main Section
Pav. 12 – Booth H7
- Bea Bonafini
Feb 1-4, 2019
Main Section
Pav. 25 – Booth A57
- Rebecca Ackroyd,
- Sophie Ko,
- Andrea Martinucci
Oct 13-15, 2018
Pav. 12 – Booth SC7
