The artist Romina De Novellis (Naples, 1982) revisits major works of arte povera from an ecofeminist perspective. She proposes to reinterpret and update certain themes and motifs of arte povera, in order to rethink, in resonance with this current, the relations between genders and between all living beings.
Il gioco della Campana, 2018 [Hopscotch]
Italy and the countries of Southern Europe are gateways to immigration from the African continent. With L’Italia rovesciata, Luciano Fabro hung the Italian boot upside down, ironically questioning national representation and our perception of space.
De Novellis presents the geography of migratory flows in the form of a popular game: hopscotch. Italy is the extension of the African continent and the pathway from South to North. Each square represents an African country from which emigrants, refugees or asylum seekers have departed, territories that each player must jump over, not without danger, to reach the desired goal. The chrysanthemums that dot this hopscotch seem to bear witness to the often tragic results of this race. The artist was inspired by the tradition of infiorate, the flower carpets that cover some Italian streets on the occasion of the Christian festival of Corpus Christo. A group of students will collaborate in the design and production of this installation.
LA CULTURA CHE VIVE, A SERIES OF PERFORMANCES
The artist Romina De Novellis revisits major works of arte povera in an ecofeminist perspective. She proposes to reinterpret and update certain themes and motifs of arte povera, in order to rethink, in resonance with this current, the relations between genders and between all living beings. Thus, consumerism, inequalities, the weight of the past and the resistance of living beings are all palpable concerns in her performances where the body of the female artist comes into play. In doing so, Romina De Novellis imagines a series of actions in resonance with the militant attitude and the use of simple materials of arte povera.
The proof is in the title, a tribute to the Italian artist and writer Ketty La Rocca, inspired by her collage, La cultura che non vive, created in 1964. The actions of Romina De Novellis reinvest certain attitudes of arte povera, with an affirmation of the female body, in an openly ecofeminist gesture. A way to remind that arte is a feminine word in Italian.
Romina De Novellis (1982) is a performer, visual artist and researcher, born in Naples, raised in Rome and living in Paris since 2008. Trained as a dancer, she studies the body from an anthropological perspective through the prism of Mediterranean cultures.
The artist uses ecofeminist theories as a parameter to analyze and denounce the oppressive realities of our societies and the dichotomies of nature-humanity, femininity-masculinity, north-south, scientific-intuitive, power-body, establishment-counter-culture. Her intention is to highlight the reappropriation of feminine traits by women and men, in order to challenge dominant models.
Her works have been presented in many contexts, including MAC – VAL in Ivry-sur -Seine, Ca’ Pesaro International Modern and Contemporary Art in Venice, MADRE Museum in Naples, Poznan Biennial in Poland, Armory Show in New York, Villa Datris Foundation, Espace Louis Vuitton, Palais de Tokyo, Musée de la Chasse et de la Nature in Paris, among others.
In 2019, Romina De Novellis initiated an artist and researcher residency project called Domus Artist Residency, based in Galatina, Italy.
Romina De Novellis is represented by Galerie Alberta Pane – Paris/Venice.
In the exhibition rooms, free on presentation of the Jeu de Paume entrance ticket.