Il sangue delle donne/The blood of women Exhibition, Bari

68 artiste, 23 nazionalità, 3 generazioni di donne e un unico progetto collettivo che affronta il tabù mestruale.
Il sangue delle donne. Tracce di rosso sul panno bianco, sarà in mostra dal 5 al 19 settembre all' Auditorium Diocesano la Vallisa di Bari.

A cura di Manuela De Leonardis.

Qui qualche articolo sul progetto e la mostra:

https://insideart.eu/2019/09/03/il-sangue-delle-donne/

https://www.robadadonne.it/g…/il-sangue-delle-donne-mostra/…

https://www.artapartofculture.net/…/il-sangue-delle-donne-…/

https://paneacquaculture.net/…/il-sangue-delle-donne-il-se…/

'Il Sangue delle Donne-The Blood of Women' book presentation @MACRO Museum

Presentation of the book Il Sangue delle Donne-The Blood of Women and talk at MACRO Museum, Rome.
I will talk about the work I made for this collective project (image above, from the MACRO May catalogue).

Thursday 16th
18pm
MACRO Museum, Rome

'Il sangue delle donne - Traces of red on a white cloth', opening April 27th, Chieti

Next step for the collective exhibition Il sangue delle donne - Traces of red on a white cloth curated by Manuela De Leonardis is at Ospedale Clinicizzato SS.Annunziata in Chieti - Reparto di Radioterapia Oncologica. Such an important place to show this work and create new dialogues.

Il sangue delle donne - Traces of red on a white cloth
Opening April 27th 2018
Chieti (Italy)

When I was 13_artwork for the book 'Il Sangue delle Donne-The Blood of Women'

When I was 13 is the artwork I made for the project Il sangue delle donne. Tracce di rosso sul panno bianco. , curated by Manuela De Leonardis, that brings together the work of more than 14 female artists on a delicate subject that is still a taboo today. The intention is to celebrate an event that occurs since the beginning of the world and turn the contempt for the female body into vitality.
When I was 13 is related to my body of work M.

When I was 13 I became a woman.
When my mother was 13 learned to do cross-stitch, at the sewing classes for tomorrow' good wives.
When my grandmother was 13, she cut her long tresses and she was no longer a child.
This canvas has been embroidered together with my sister, my uncle and my mother, with my grandmother's (fake) hair. Braiding the threads that tie the female memory of my family, I choose the canvas as a place, a map, an uterus, to confirm my belonging, and at the same time to  refuse the past social conventions that used to define what it means being and becoming a woman.