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
manuela de leonardis
'Il Sangue delle Donne-The Blood of Women' book presentation @GNAM
Presentation of the book Il Sangue delle Donne-The Blood of Women and talk at GNAM, Galleria d’Arte Moderna e Contemporanea in Rome.
I will talk about the work I made for this collective project together with some of the artists present in the book.
Friday 15th
17pm
GNAM, 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)
Exhibition 'Il Sangue delle Donne-The blood of Women'
Proud to be part of this powerful project with 58 international women artists.
The blood of Women - Traces of red on white cloth
(Il sangue delle donne - Tracce di rosso sul panno bianco)
curated by Manuela De Leonardis
Palazzo Fibbioni
L'Aquila (Italy)
Opening March 8th, 2018
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.