The exhibition “L’Offesa” at Ar/Ge Kunst reinterprets among the works of artist Lucia Marcucci (Florence, 1933) created because the Sixties, exploring the verbo-visual aspect of aural poetry, cine-poetry and non-linear enhancing methods, additionally by way of the contribution of quite a lot of up to date voices (Wissal Houbabi, Elena Biserna and Annamaria Ajmone with Laura Agnusdei).

It was 1964 when artist Lucia Marcucci created the work Il fidanzato in fuga: a collage on cardboard depicting three freestanding spacesuits, as if hooked up to garments hangers, bodyless. The collage reads: “Paradiso extraterrestre della donna, il fidanzato in fuga nello spazio” (“A girl’s extra-terrestrial paradise: a boyfriend on the run in house”). An ironic and provocatory phrase, denouncing the situation of latest girls and showcasing their want for freedom and transgression, from inside a society obsessive about scientific and technological progress and throughout the time in fixed ascent in direction of the ‘conquest’ of house. The next 12 months, as a part of Gruppo ’70, with Eugenio Miccini, Lamberto Pignotti and Antonio Bueno, Lucia Marcucci put up posters after which ripped them, together with the poster L’Offesa, throughout their poetry reveals Poesie e no (1964–1967). These had been a collection of multimedia happenings that includes poems in addition to non-literary materials. The occasions, significantly Poesie and no 3 (1965), drew on a variety of languages – poetry readings, newspaper columns, slogans, extracts from novels, experimental movie screenings and different ephemeral and unstable actions – to the music of Giuseppe Chiari. It was all put collectively inside a Cubist-style collage of phrases and recitals, clips, scraps and offcuts, transferring away from the linear development of content material.

Lucia Marcucci stood out by advantage of her table-turning of the poetic phrase, which turned a part of the feminist struggles within the Sixties. What the artist defines as “returning the lexicon to sender” means exploiting language with irony to pursue a essential redemption of stereotypes, of gender and the assumptions regulating illustration of the feminine physique, and of the kinds and habits imposed upon it by capitalist society. Like in Lucia Marcucci’s work, the phrase is introduced again to the streets, squares and venues the place civic relations may established, and our bodies together with them.

On the event of the artist’s ninetieth birthday, the exhibition “L’Offesa” at Ar/Ge Kunst retraces among the artist’s works from the Sixties as much as the Nineteen Nineties on mortgage from the Lucia Marcucci Archive and the Frittelli Arte Contemporanea Gallery. The exhibition re-examines how speech, promoting, media and paper had been questioned within the Sixties and Nineteen Seventies by way of militant practices intensifying verbal and bodily presence.

Curated by
Francesca Verga and Zasha Colah

at Ar/Ge Kunst, Bolzano
till July 29, 2023