MARINELLA SENATORE ARTIST BIOGRAPHY
Marinella Senatore (Italy, 1977). Lives and works in Rome and Paris.
Trained in music, fine arts and film, Senatore is a multi-disciplinary artist and her practice is characterized by a strong collective and participatory dimension.
Senatore’s work merges forms of resistance, vernacular and popular culture, dance and music, mass events and activism, rethinking the political nature of collective formations (“Assembly”) and enable the public to generate a potential for social change. Intertwining with the artist’s personal autographical experiences and collective shared narratives, her practice encompasses collage, performance, sculpture, photography and video.
In 2013 she found The School of Narrative Dance, a nomadic, free of charge school focused on non-hierarchical learning and emancipation. The multidisciplinary school, conceived as alternative training ground, is characterized by free workshops engaging local groups and by public energetic, soulful processions, where the artist and participants together orchestrate narratives, tracing new connection between contemporary relations.
Her work has been exhibited widely throughout Italy and With the upmost honour, Senatore is the winner of the 4t abroad, including: h edition of Italian Council (2018) of the Directorate-General for Contemporary Art and Architecture and Urban Peripheries MANIFESTA 12, Palermo; Centre Pompidou, Paris; MAXXI (DGAAP) that will result a unique collaboration with Castello Museum, Rome; Queens Museum, NY; Kunsthaus Zurich; di Rivoli Museo d’Arte Contemporanea, Turin and IZIKO South Castello di Rivoli, Turin; Kunsthalle, Sankt Gallen; Palais African National Gallery, Cape Town in 2019. de Tokyo, Paris; Schirn Kunsthalle, Frankfurt; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, In 2017, the artist was awarded with the International Art Santa Barbara; High Line, NY; Madre Museum, Naples; Les Grant in Dresden, Germany including a residency program. In Laboratories d’Aubervilliers, Paris; Faena Art Forum, Miami; 2014 Senatore won the prestigious MAXXI Prize and was the Bozar, Brussels; Kunstverein Ar/Ge Kunst, Bolzano; CRAC recipient of the “Museum Calls Artist” commission of AMACI, Alsace, Altkirch; Centre of Contemporary Art, Torun; Petach the Association of Italian Contemporary Art Museums. In 2013 Tikva Museum of Art; Sandretto Re Rebaudengo Foundation, she won the Fellowship for Young Italian Artists at Castello di Turin; Serpentine Gallery, London; ISCP, New York; La Rivoli, Turin. In 2011 Senatore was an Affiliated Fellow at The Triennale, Milan; Palazzo Strozzi, Florence CCA, Tel Aviv; Le American Academy in Rome and a finalist for the Furla Art Magasin Centre National d’Art Contemporain, Grenoble; Extra Award. In 2010 she won The New York Prize, the 21st Bellisario City Kunsthal, Antwerp; MAC Musée d’art contemporain de Award, the Gotham Prize and the Terna Prize. In 2009 she was Montréal, Canada; ICA, Richmond, Virginia, US; BAK Basis voor the recipient of Dena Foundation Fellowship. Actuele Kunst, Utrecht; Centro de Arte Dos de Mayo, Madrid; Palazzo Grassi, Venice; Museum Boijmans Van Beuningen, In addition to teaching at various universities, the artist Rotterdam; Moderna Museet, Stockholm. regularly lectures at international institutions such as the Guggenheim Museum, NY; Creative Time Summit, NY and UABB Bi, Shenzhen, 2017; Biennale de Lyon, 2015; Thessaloniki Venice; Spike Island, Bristol; ICA-Institute of Contemporary Biennale, 2015; Liverpool Biennale, 2014; Shiryaevo Biennale, Arts, London; Foundation d’Entreprise Ricard, Paris; NYU, 2013; Athens Biennale, 2013; Havana Biennale, 2012; Moscow Berlin; ERG, Brussels; University of Madrid; University of International Biennale for Young Art, 2012; 7th Göteborg Granada; University of Turin; Beursschouwbug, Brussels; International Biennial for Contemporary Art , 2013; Contour- Academy of Fine Arts, Mechelen; NABA New Academy of Fine Biennial of the Moving Image, Mechelen, Belgium, 2013; Arts, Milan; Kunstverein Ar/Ge Kunst, Bolzano. Bienal de Cuenca, Ecuador, 2014, 54th Venice Biennale «ILLUMinations», 2011. In 2013 Marinella Senatore founded The WORKS School of Narrative Dance, focused on the idea of storytelling as an experience that can be explored choreographically, on non-hierarchical learning, self-training and the creation of an active citizenship through informal education. Nomadic and free of charge, the School takes different forms depending on the spaces it temporarily occupies, and proposes an alternative system of education, based on emancipation, inclusion, and self- cultivation. THE SOND offers a wide range of classes in subjects such as literature, oral history, carpentry, art history, crafts, SCHOOL photography, arithmetic, drama, choreography, cinematic language, etc., OF encouraging individuals to share their skills or achieve new ones, building new groups and ideas of community. To date, NARRATIVE the School‘s projects – produced by Institutions, Museums and Foundations – DANCE have been developed in several countries in Europe and US, with the involvement Performance, photography, video, video tutorial, of political activists, scholars, artisans, installation, drawing, collage, banner, riso print, sculpture, painting illiterate people, students, housewives, musicians, writers, worker unions, retired, teachers, feminist choirs and Alpines.
The work uses dance as a common language through which to celebrate the vernacular, amateur, and professionally trained gestures of the participants. WORKS THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE WORKS THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE WORKS THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE WORKS THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
Parades: Brass Band 2018 Collage, brass band music scores from last century, drawing, acrylic and mixed media cm 50 x 70, framed each Private collection and Collection: MAXXI, Rome WORKS THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance: Dance First, Think Later 2018 Collage and acrylic on vegetable cardboard cm 29 x 21 each WORKS THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
Remember the first time you saw your name 2017 Diptych paintings Acrylic and lacquer on canvas cm 30 x 40 each
The School of Narrative Dance, Shenzhen 2017 Fine Art Print on Hahnemühle paper cm 80 x 105, framed WORKS
The School of Narrative Dance: Venice Parade 2015 Fine Art Prints on Hahnemühle paper cm 80 x 105, framed Private collection THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance: Little Chaos 2013 Fine Art Prints on Hahnemühle paper cm 160 x 300, framed Produced by Musei Civici and Comune of Cagliari, Italy Private collection
The School of Narrative Dance, Berlin Parade 2012 Fine Art Prints on Hahnemühle paper cm 80 x 105 , framed Private collection THE SCHOOL OF NARRATIVE DANCE Private collection cm 42x30,framed Risograph prints 2016 Exploring new ways ofmoving while forming new elective communities intheprocess WORKS THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance, Queens 2014 Installation: Dance floor 4,50 x 10 mt, 5 DVD players, 5 monitors, wall painting, mixed media Installation views at Queens Museum
The School of Narrative Dance, Roma 2014 Classroom designed in collaboration with ASSEMBLE STUDIO, London Wood, sand, towers, fabric, dance mats, mixed media Dimension determined by the space Collection : MAXXI, Rome WORKS The School of Narrative Dance, Sweden 2014 7 drawings on paper (variable dimensions, framed), monitor, banner Installation views at Kunst Halle, St. Gallen Photo G. Meier THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative dance 2013 5 tutorials, color, sound 3 mins each Stills from video
The School of Narrative Dance: Rivoli 2013 Installation: Dance floor 4,50 x 10 mt, 5 DVD players, 5 monitors, wall painting, mixed media Installation views at Castello di Rivoli Photos by R. Ghiazza Collection: Ruben Levi, Turin WORKS THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
Piazza Universale/Social Stages – the entrance 2017 - 2019 Installation: wood, painting, mixed media Dimension determined by the space Installation view at Queens Museum, NYC (right) and association for contemporary art, Graz (left) Photo T. Raggam (left) and H. Zhang (right) Protest Forms: Memory and Celebration PROTEST explores the multifaceted forms and rich legacies of protest in different countries, FORMS: while also engaging with ecology of affiliation, empowerment, and belonging. The artist articulates her long term interest in the role MEMORY that the collective crowd, dance and music play into the creation of temporary communities AND united in demonstrating resistance. CELEBRATION
Performance, drawing, installation, banner, sculpture, luminaries, UV print, wallpaper, painting WORKS PROTEST FORMS: MEMORY AND CELEBRATION FORMS: PROTEST
Parades: Brass Band Protest Forms 2018 2019 Collage, brass band music scores from last century, drawing, acrylic and mixed media Collage, brass band music scores from last century, drawing and mixed media cm 50 x 70, framed cm 50 x 70, framed WORKS PROTEST FORMS: MEMORY AND CELEBRATION FORMS: PROTEST
Protest Drums 2019 LED, neon, mixed drum set, women hair, mixed media Various dimension Installation view at
It’s time to go back to street 2019 20 drawings graphite on paper cm 21 x 29, framed Installation view at
It’s time to go back to street 2019 20 drawings graphite on paper and wallpaper cm 21 x 29, framed WORKS
ZIG ZAG ZEG ZUG 2018 Collage and tattoo ink on fabric Various dimensions PROTEST FORMS: MEMORY AND CELEBRATION FORMS: PROTEST WORKS PROTEST FORMS: MEMORY AND CELEBRATION FORMS: PROTEST
REEN LIEBER, RENN 2018 Installation: Luminarie, LED bulbs and wooden structures Installation view at Fondazione Memmo, Rome
GIVE YOUR DAUGHTERS DIFFICULT NAMES ASSEMBLY 2018 2018 Installation: Luminarie, LED bulbs and wooden structures Double sided wooden Structure and LED Bulbs Dimension determined by the space 400 cm Diameter Installation view at High Line, NY Photo D. Stahl Photo T. Schenck WORKS PROTEST FORMS: MEMORY AND CELEBRATION FORMS: PROTEST
Protest Forms Protest Forms 2017 2017 B/W wall vinyl Wall painting, UV prints, canvased lacquer and video on iPad mt 8 x 4 Installation view at Queens Museum, NY Photo H. Zhang PROTEST FORMS: MEMORY AND CELEBRATION cm 100×70,each UV prints andcollages 2017 Protest Forms WORKS
The New Feminism 2016 Musicians will be heard Collage, acrylic and golden ink archive material on vegetable 2016 cardboard a Collage and acrylic archive material on vegetable cardboard cm 70 x 50 cm, framed cm 70 x 50 cm, framed Private Collection Private Collection PROTEST FORMS: MEMORY AND CELEBRATION FORMS: PROTEST
Sisters be strong Remember the first time you saw your name 2016 2016 Collage, acrylic and golden ink archive material on vegetable Collage, acrylic and golden ink archive material on vegetable cardboard cardboard cm 70 x 50 cm, framed cm 70 x 50 cm, framed Private Collection Private Collection WORKS PROTEST FORMS: MEMORY AND CELEBRATION FORMS: PROTEST
Protest Forms #1 The School of Narrative Dance #3 2018 2018 Lacquer on canvas Lacquer on canvas cm 50 x 30 x 4 cm 100 x 70 x 4
Because of sadness there is poetry 2017 Acrylic and lacquer on canvas cm 200 x 150
Labor Day Parade March There is more than one way to be a patriot 2017 2017 Acrylic and lacquer on canvas Acrylic and lacquer on canvas cm 100 x 70 cm 100 x 70
Protest Forms #2 2018 Lacquer on canvas cm 50 x 30 x 4 Physical Geographies and Persistent Bodies in South Africa there is really working freedom of by Sean O’Toole speech, working NGOs, and so on,” said Kurachyova during a press briefing. “In Russia we don’t have In November 2018, three members of Pussy Riot, an such things.” open-membership collective whose methodology centres on pre-planned public actions, visited Cape Towards the end of their stay, on 29 November, Town at the invitation of Italian artist Marinella Pussy Riot released a statement through its official Senatore. Well known in Europe for her participatory Instagram channel expressing solidarity with performances and parades, one of which involved Russian musicians being targeted by the Federal 20,000 participants, Senatore viewed the invitation Security Service (FSB). “Artists in Russia are being as a gift. Ever since five members of Pussy Riot staged banned like in Soviet times, many concerts are a protest against the re-election of Vladimir Putin cancelled,” read the post. It went to detail how in the Cathedral of Christ the Saviour in Moscow in musicians IC3PEAK, Husky, FrendZona and Allj had 2012, this agitprop group has used the “persistence” all recently experienced state harassment. A day of their bodies, to quote American philosopher after the post was published Kurachyova, Nikulshina Judith Butler, to draw global attention to social and Pakhtusova staged an unannounced action in conditions in contemporary Russia. Cape Town.
The conviviality of Pussy Riot’s direct-action During the bustle and heave of a Friday night at methodology was evidence again when, in July 2018, EVOL, an underground nightclub on Hope Street they invaded the pitch during the finals of World Cup that has long been a safe space for Cape Town’s tournament in Moscow. Dressed as policemen, Olga LGBTI community, the DJ crossfaded to a song by Kurachyova, Veronika Nikulshina, Olga Pakhtusova BODIES IN electronic duo IC3PEAK. Wearing their signature and Pyotr Verzilov ran onto the pitch during the knitted masks, the Pussy Riot activists climbed onto lacklustre final between Croatia and France. While ALLIANCE / the stage and danced. Photographic documentation Nikulshina’s high-fiving of footballer Kylian Mbappe of this ephemeral action appears on Senatore’s became a defining image of the action, far less debut solo exhibition in South Africa, Bodies in acknowledged was the conceptual justification POLITICS OF Alliance / Politics of the Street. for the action. Pussy Riot dedicated their action to artist and poet Dmitri Prigov (1940-2007), who wrote THE STREET Senatore’s exhibition presents work in diverse about the pervasive figure of the Russian policeman media – drawings, paintings, photographs, light during the Soviet era. sculptures and audio-visual installations – and 2019 offers a broad overview of her artistic strategies All four Pussy Riot members were subsequently and material interests. It also gives insight into the Photography, embodied dress, sculpture, detained for 15 days. Two months later Verzilov was artist’s personal avatars. The title of the exhibition drawing, wallpaper, light installation, sound admitted to hospital on suspicion of poisoning. “I directly references a 2011 lecture in Italy by Judith find the censorship of Russian artists very cruel,” Butler. Titled “Bodies in Alliance and the Politics of says Senatore. “I wanted to expose the Pussy Riot the Street,” the lecture was a response to activists to a relaxing time in Cape Town, as well as place them in a completely different context to the tumultuous presentness of the occupy what they are usualy exposed to.” Three of the four movement and Arab Spring (more formally, it was Pussy Riot members who participated in the World also an intellectual argument with Hannah Arendt). Cup action accepted Senatore’s invitation to visit “For politics to take place, the body must appear,” Cape Town – Verzilov was too ill to travel from Israel, argued Butler. “I appear to others, and they appear where he was convalescing. to me, which means that some space between us allows each to appear.” Much of Senatore’s practice During their two-week visit, Kurachyova, Nikulshina since 2006, when she began exploring participatory and Pakhtusova met with various artists and practices involving social activists and non-artists activists. But home, and all its complications, – pretty much anyone with a sense of fun and remained unavoidable, a haunting spectre that they appreciation for the necessity and immediacy of the invited South Africans to consider. “There are many commons – bears out Butler’s assertion that action things in common between Russia and South Africa, is “invariably bodily”. but the one thing we don’t have in common: here Writing in her 2015 book Notes Toward A Performative The installation also includes an interview with Theory of Assembly, Butler argues that collaborative Carlos Aponte of the Young Lords, a Puerto Rican action can be “an embodied form of calling into activist organisation founded in Chicago in 1959. question the inchoate and powerful dimensions Senatore linked up with the Young Lords during a of reigning notions of the political”. Pussy Riot’s 2017 survey of her practice at the Queens Museum, action at EVOL, which the group allowed Senatore New York. “Research is the biggest part of my work,” to document, and also to situate within the larger she says. First-hand encounters, she insists, are archive of her own socially engaged practice, pivotal to her rhizomatic and horizontal way of offers a practical elaboration of Butler’s theoretical networking and collaborating. Senatore, who first arguments. Bodies perform, bodies resist. visited Cape Town in 2018, is using the occasion of her SMAC exhibition to further her research on South As is evident from her collaboration with Pussy Riot, Africa for a planned show at the Iziko South African Senatore is not a prescriptive collaborator. If anything, National Gallery in late 2019. she views herself as a trigger. “I want to activate things, not control things,” she says. “I am interested Sean O’Toole is a writer and editor based in Cape in the public meaning of performative action, the Town meaning of assembly, and the emancipation of people.” Consequnetially, participants in her work are not constellations or infrastructures; they are vital and unavoidable bodies. Tangibility, that haptic opposite of virtuality, also matters to Senatore. “My projects cannot exist without real experience.”
Senatore’s thinking is greatly influenced by Butler, who is an intellectual lodestar for the artist – who initially trained as a classical violinist before embarking on her art career. Senatore’s exhibition includes a copy of Butler’s Notes Toward A Performative Theory of Assembly in the audio- visual installation How People Became Army (2018). A convivial space of pause and intellectual replenishment, the installation recalls the precarious spaces fashioned by activists at Zuccotti Park and Tahrir Square, well-known people’s assemblies that included improvised libraries and spaces for reflection.
Senatore’s library exhibits her preference for contemporary aesthetics and social theory – she is, after all, a doctoral student at University of Castile- La Mancha in Spain. Alongside Butler’s book there are texts by, among others, Nicolas Bourriaud, Jacques Rancière and Nadya Tolokonnikova, a Pussy Riot member jailed in 2012 for “hooliganism” after the church performance. How People Became Army also includes an audio component that explores resistance across multiple geographies and temporalities. The selection includes Sicilian folk icon Rosa Balistreri (“I’m not a singer, I’m an activist who makes speeches on the guitar,” she once said) and Jennifer Reid’s renditions of 19th-century Bodies in Alliance / Politics of the Street V English worker ballads. 2019 Lightjet Print, Diasec and Acrylic Fabric cm 90 x 135 WORKS BODIES IN ALLIANCE / POLITICS OF THE STREET BODIES IN ALLIANCE / POLITICS
Bodies in Alliance / Politics of the Street 2019 Installation views at SMAC Gallery, Cape Town, SA WORKS
Bodies in Alliance / Politics of the Street III Bodies in Alliance / Politics of the Street I 2019 2019 Lightjet Print, Diasec and Acrylic Fabric Lightjet Print, Diasec and Acrylic Fabric cm 90 x 135 cm 90 x 135 BODIES IN ALLIANCE / POLITICS OF THE STREET BODIES IN ALLIANCE / POLITICS
Bodies in Alliance / Politics of the Street IV Bodies in Alliance / Politics of the Street II 2019 2019 Lightjet Print, Diasec and Acrylic Fabric Lightjet Print, Diasec and Acrylic Fabric cm 90 x 135 cm 90 x 135 WORKS BODIES IN ALLIANCE / POLITICS OF THE STREET BODIES IN ALLIANCE / POLITICS
Debut D’une Lutte Prolongee 2019 Neon Tubing cm 95 x 176
Everybody can be Pussy Riot La Lutte Continue 2019 2019 Mirror Tiles, Modified Cloth Balaclava, Neon Tubing Cement Bust, Aluminium, Wood and Framed cm 120 x 120 Photographic Print Dimensions Variable WORKS BODIES IN ALLIANCE / POLITICS OF THE STREET BODIES IN ALLIANCE / POLITICS
How People Become Army 2017 – 2019 Headphones, MP 3 Players cm 95 x 176 Dimensions Variable
Feminist Podium How People Become Army 2019 2017 – 2019 Led Light, Mirror Tiles, PA System, Aluminum and Wood Headphones, MP 3 Players cm 136 x 84 x 71 cm 95 x 176 Dimensions Variable Collective project with Russian activists, Pussy Riot, local artists and performers in Cape Town, South Africa
Club is the New Church represents the aggregated system in the society that CLUB IS THE originates from a contemporary pop culture phenomenon. The project was inspired by the underground night life. The significance of NEW CHURCH night life is converted into a notion of assembly. Progressively, underground night clubs have 2019 long been a safe space for LGBTQI communities. Installation, photography Such approach changes the conventional social structure. By adopting the contemporary quote by the pop culture, it shows the sense of resistance and replace the lack of gatherness.
The outcome of the work expresses solidarity with Russian musicians being targeted by the Federal Security Service (FSB). WORKS CLUB IS THE NEW CHURCH CLUB
Club is the New Church 2019 Fine art print on Hahnemühle Photo Rag, acrylic curtains and mixed media CAN ONE LEAD A GOOD LIFE IN BAD LIFE? 2019
Collage, photography WORKS CAN ONE LEAD A GOOD LIFE IN BAD LIFE?
Can one lead a good life in a bad life? 2019 Fine Art Print on Epson Hot Press paper, mosaic mirror tiles, rope, moldable graphite, archival images, glass outliner, framed cm 21 x 29,7 Conceived by thirty illiterate retired miners from the Sicilian town of Enna in collaboration with students from the University of Catania, the project was an open workshop for one month, where participants took on the roles of non-professional actors, costume designers, NUI SIMU camera operators, set designers, etc. The local community was involved in different ways: (That’s us) residents shared their skills and expertise (i.e., bakers offered free catering for the entire crew, taxi drivers provided transportations for 2010 free, local hairdressers prepared actors for the Video, photography, installation shooting every day), negotiating with the artist the role they would have played in the project. WORKS NUI SIMU (THAT’S US) NUI SIMU (THAT’S
NUI SIMU 2011 HD video, stereo 15’ Variable dimension Installation view at Premio Furla. Palazzo Pepoli, Bologna Private collection
Nui Simu (That’s us) 2010 Fine Art Print on Hahnemühle paper cm 80 x 105 Private collection How Do U Kill the Chemist portrays a series of real events that happened in NY State in the Fifties. Groups of rappers from Harlem took part as both actors and HOW U KILL scriptwriters, while residents of Hudson City were involved as non direct witnesses of the narrated events. THE CHEMIST Produced thanks to the Fellowship of the Dena 2009 Foundation, Paris Video, photography, drawing, installation WORKS
HOW U KILL THE CHEMIST HOW How do u kill the chemist – Script 2009 Bic pen on paper 130 x 45 cm, framed Installation view at Castello di Rivoli Private collection
How do u kill the chemist – Storyboard 2009 Charcoal on paper 40 x 30 cm each, framed Installation view at Castello di Rivoli Private collection
How do u kill the chemist – Storyboard 2009 Charcoal on paper 40 x 30 cm each, framed Installation view at Castello di Rivoli Private collection HOW U KILL THE CHEMIST Private collection Installation at view Castello diRivoli 40 x30cmeach, framed Charcoal onpaper 2009 How doukillthechemist–Storyboard Protest Bike is conceived as both an installation and a public intervention, launched in Paris in 2016. Voicing ‘the complaint’ is the focus of the project, as a universal phenomenon that could be organized in any city. Citizens are welcome to use the bike for PROTEST personal or choral public protest without cultural or thematic limit, an open platform offering alternative BIKE forms of public demonstration and action. Any slogan or lament can be shouted, declaimed or simply recounted while cycling on the Protest Bike also 2016 - 2018 understood as an act of physical effort that underlines Sculpture, video, installation the participant’s will to express themselves. WORKS PROTEST BIKE PROTEST
Protest Bike Paris Protest Bike Paris 2017 2017 Chopper bike, megaphones, sound, flags, mixed media Chopper bike, megaphones, sound, flags, mixed media Installation view at Kunsthaus Zürich Installation view at Kunsthaus Zürich WORKS PROTEST BIKE PROTEST
Protest Bike, Paris Protest Bike Paris 2016 2017 Chopper bike, megaphones, sound, flags, mixed media Chopper bike, megaphones, sound, flags, mixed media Installation view at Centre RECOLLETS, Paris Installation view at Extra City Kunsthal, Antwerpen In 2017, Marinella Senatore won the International Art Grant from The Foundation of Arts and Music for Dresden, Germany for a six-month artist residency in the city. Dresden is actually the site of some of the PROTEST biggest gatherings of Nazis in post-War Germany, in contrast to other cities of the country. BIKE, With the emergence of the far right movement, crowds appear marching through Dresden chanting DRESDEN racist slogans the artist experienced against, left wing movement, cultural institutions, projects or community centers. Even the artist herself was 2018 Sculpture, installation verbally attacked by the public throughout her stay. WORKS PROTEST BIKE, DRESDEN PROTEST
Protest Bike Dresden 2018 Chopper bike, megaphones, sound, flags, LED lights, mixed media Installation view at Schirn Kunsthalle, Frankfurt Photo by Norbert Miguletz (left) and Hans-Georg Roth (right) ROSAS is an Opera for the screen in three Acts made by 20.000 participants: Perfect Lives, The Attic and Public Opinion Descends upon the Demonstrators, respectively produced in Berlin, Derby (UK) and Madrid. Working with local association, schools, individuals and self-organized groups, professionals and amateurs, who contributed to every step of its production, from writing the original Libretto to directing the final film. ROSAS
The trilogy is made in German, English and Spanish, as well as English and Spanish Sign Languages. 2012 The artist left sets and technical equipment at the Video, photography, drawing, poster, banner, disposal of the local communities, encouraging installation further spontaneous contribution.
Produced by Künstlerhaus Bethanien (Berlin), QUAD (Derby, UK) and Matadero (Madrid). WORKS ROSAS
Rosas – Opera in 3 Acts 2012 Rosas – Opera in 3 Acts Installation:3 HD videos 23’, 35’, 20’ each, 10 Hantarex monitors (7 mute, 3 sound), 10 DVD players, 3 2012 headphones Installation:3 HD videos 23’, 35’, 20’ each, 10 Hantarex Installation views at Castello di Rivoli, Turin monitors (7 mute, 3 sound), 10 DVD players, 3 headphones Installation views at Kunst Halle Sankt Gallen, CH Photo R. Ghiazza Photo Gunnar Meier Rosas Tea Bar comes into being as part of ROSAS and today is proposed as autonomous work and present itself as participatory space available to visitors who can perform and to drink a cup of tea, socialise and have fun. Rosas Tea Bar is an installation that reproduces the facet of an actual tea bar in United Kingdom. During the shooting of the video ROSAS (the second chapter of The Trilogy), owners of the tea bar offered free tea to participants as an act of social contribution and participation. ROSAS It is the first as an actual production set defined by plasterboard walls, mirrors, dance bars, TEA BAR cinema lighting, and a professional movie camera. Here one may make films, photographs, dance sessions, or stage other performances 2015 Installation, participatory space with the possibility of recording them. Available to visitors, who may book use of the set through the Museums and Institutions hosting it, like in the case of Rosas Tea Bar, offering people the opportunity to express their own individual creativity, socialize, and have fun. WORKS ROSAS TEA BAR
Rosas – Tea Bar 2015 Neon, wood, monitor with video Variable dimension Installation views at ABC – Art Berlin Contemporary 2015 Photo H. G. Gaul Rosas – Movie Set is the real set built by non- professional carpenters in UK for the shooting of the second chapter of The Trilogy. It is an actual production set defined by wooden walls, mirrors, dance bars, cinema lighting, and a professional movie camera, that allows visitors to make films, photographs, ROSAS dance sessions, or stage other performances with the possibility of recording them. Available to visitors MOVIE SET can book for free the use of the set through the Museums and Institutions hosting it, Rosas – Movie Set exemplifies Senatore’s idea of a work as an open 2012 platform, within which the artist’s role is to unleash Installation, participatory space production processes offering people the opportunity to express their own individual creativity. WORKS ROSAS MOVIE SET ROSAS MOVIE
Rosas – Movie Set Rosas – Movie Set 2012 2012 Wood, Fresnel lamps 2000W, 500W, 650W, fog machine, dance bars, mirrors Wood, Fresnel lamps 2000W, 500W, 650W, fog machine, dance bars, mirrors Dimensions determined by the space Dimensions determined by the space Installation view at Castello di Rivoli, Turin Installation view at Castello di Rivoli, Turin Photo R. Ghiazza Photo R. Ghiazza WORKS ROSAS MOVIE SET ROSAS MOVIE
Rosas: Public opinion descends upon the demonstrators 2012 Fine Art Print on Hahnemühle paper cm 80 x 105, framed Private collections ROSAS MOVIE SET Private collections Fine ArtPrinton Hahnemühlepaper cm80x105,framed 2012 Rosas: Publicopiniondescends uponthedemonstrators WORKS Rosas: Public opinion descends upon the demonstrators 2012 Fine Art Print on Hahnemühle paper cm 80 x 105, framed Private collection ROSAS MOVIE SET ROSAS MOVIE
Rosas: Public opinion descends upon the demonstrators Rosas Map 2012 2012 Fine Art Print on Hahnemühle paper cm 80 x 105, framed Drawing – Pencil and sharpie on PVC Private collection cm 210 x 300 Participants took an active hand in the creative process from its very first stages: the original screenplay was conceived and written by a neighborhood association from the outskirts of Madrid and by hundreds of students from the Complutense University.
They all worked in concert with retired carpenters, local seamstresses, craftsmen and professional actors to build the set, make costumes and prepare SPEAK EASY themselves for each role of the production. Radio stations, free press, social networks and works- of-mouth publicized the “1€ para ser Production” 2009 - 2017 fundraising campaign, which got over 1200 citizens to Video, drawing, collage, painting, sculpture, pitch in. By donating 1 euro, they became the project’s installation producers, actively taking part in its most important meetings.
Produced by 1200 citizens of Madrid. WORKS
Speak Easy 2013 Installation: HD video projection on forex panel 15’ 30”, monitor B/W video, mute, 3’ Dimension determined by the space Installation view at Castello di Rivoli, Turin
SPEAK EASY Photo Renato Ghiazza Private collection
Speak Easy Speak Easy 2013 2017 Collage, painting and mixed media on vegetable cardboard, cm 50 x70 and cm 100 x 70 Installation: wallpainting, flat screen, self-standing wooden structure, headphones, chairs, collages, LED Installation view at Castello Rivoli, Turin display, drawings and tables Photo R. Ghiazza Installation view at Queens Museum, NYC Private collection Photo H. Zhang WORKS SPEAK EASY WORKS SPEAK EASY WORKS SPEAK EASY WORKS SPEAK EASY
Speak Easy Archive 2009-2013 Drawings on paper Din A4 and A3, Speak Easy- Collage painting on canvas, collages on 2009-2013 music paper on Din A Collage, painting and mixed media on 3 tables (cm 124 x 92 x 91.5 vegetable cardboard each) designed by the artist in cm 50 x 70 and cm 100 x 70 each, framed collaboration with ASSEMBLE STUDIO, London The new public work by Marinella Senatore: Modica historical events will be recited by direct and indirect Street Musical – The Present, The Past and The witnesses (storytellers, sign language interpreter, Possible, is a 4 hours long musical travelling around anarchists, among others) Act II is the final act and the city of Modica, with two ACTS and an INTERMEZZO, focuses on the Possible, chosen as an alternative The musical is entirely composed and interpreted category to the future, underscoring the need for with the collaboration of over a hundred inhabitants tangible actions that will stem from recognition of the of Modica and the surrounding area. Modica Street existent and informed by the careful reading of what Musical is inspired by public ceremonies, the civil and has been. Senatore thus invited the Italian composer religious rituals of the Italian tradition, and festivals Emiliano Branda to write a soundtrack about Modica, and mass events, interweaving this intangible heritage starting with materials collected through a request with the format of the street musical. Modica Street made to residents in June to send in all the sounds, Musical weaves together some of the formats used memories, and citations that, in their minds, form the by Senatore in the past – from the cinema set to the sonic backdrop of the city. The MODICA SOUNDTRACK theatre production, passing through the school of is the legacy that Marinella Senatore’s public work is narrative dance for nonprofessionals – in order to leaving to the population that so generously chose reflect on the political nature of collective formations to participate in a musical about them and that and on their impact on the social history of places would project to the outside the complexity of being and communities. Forms of protest by oppressed together and forming a community today. minorities re-emerge from the past of Sicily in the guise of music, choreographies, and storytelling, to Text by M. Lucchetti merge with the repertoires of bands, groups and other collective creations troupes composed by younger generations. The exchange between the legacy and the present is built through a new popular vocabulary that MODICA brings the musical back to its origins: a 19th Century North American society show genre for lower classes. The migrants, coming from the most diverse origins, STREET in fact, found in this genre the chance to give form to a theatre of revolt that could speak emphatically MUSICAL to the biggest number of people, creating inclusion, avoiding higher culture codes and articulating ideas of emancipation and common good among working 2016 - 2017 class people. In the same way, the Modica Street Performance, video, photography, sculpture, Musical seamlessly juxtaposes classical music pieces drawing, collage, painting, banner, installation and pop songs, engaged theatre and entertainment, mass movements and ballet choreographies. Divided into three parts, the work devotes Act I to the Present, where dozens of formations will create a multifaceted performance with the intent of offering a sounding board to those who locally turn their energies to forming the new generations through music, dance and other activities. It is a great fresco of the city’s cultural liveliness, paying special attention to what brings people together and spawns a transitory community composed of people from very different walks of life. Intermezzo is dedicated to the Past. At this juncture, the past is evoked with a specific and limited function: not as a cumbersome and inhibiting legacy of alternative scenarios to the present, but in its capacity to bear witness to the evolutions of the social fabric through the historical transformations of such a unique territory in the Sicilian ecosystem: choice of stories, anecdotes, and significant local WORKS MODICA STREET MUSICAL MODICA STREET
Modica Street Musical “luminarie” Modica Street Musical “luminarie” 2017 2017 Installation: monitors, headphones, wall paintings, sound Installation: monitors, headphones, wall paintings, sound Dimension determined by the space Dimension determined by the space Installation view at Queens Museum, NYC Installation view at Queens Museum, NYC Photo H. Zhang Photo H. Zhang
Rosone 1 Rosone 2 2018 2018 Wooden Structure and LED bulbs Wooden Structure and LED bulbs 200 cm Diameter 160 cm Diameter WORKS MODICA STREET MUSICAL MODICA STREET
Modica Street Musical Modica Street Musical 2016 2016 Diptych – Fine art prints on Hahnemühle paper Fine art prints on Hahnemühle paper cm 70 x 100 each cm 80 x 105 each WORKS Protest dance 2016 Pencil and wax color on paper cm 70 × 100 Collection: MAXXI, Rome MODICA STREET MUSICAL MODICA STREET
Modica Street Musical – Storyline Workers Union Brass Band 2017 2016 Tattoo ink, charcoal, mixed media on paper Graphite, ink and chinese pencil on acid free cardboard (framed) 60 x 40 cm each, framed cm 70 × 100 Private collection Collection: MAXXI, Rome In 2013 Marinella Senatore founded The School of Narrative Dance, focused on the idea of storytelling as an experience that can be explored choreographically, on non-hierarchical learning, self-training and the creation of an active citizenship through informal education. Nomadic
PERFORMANCE and free of charge, the School takes different forms depending on the spaces it temporarily occupies, and proposes an alternative system of education, based on emancipation, inclusion, and self- cultivation. THE SOND offers a wide range of classes in subjects such as literature, oral history, carpentry, art history, crafts, SCHOOL photography, arithmetic, drama, choreography, cinematic language, etc., OF encouraging individuals to share their skills or achieve new ones, building new groups and ideas of community. To date, NARRATIVE the School‘s projects – produced by Institutions, Museums and Foundations – DANCE have been developed in several countries in Europe and US, with the involvement Performance, workshop, photography of political activists, scholars, artisans, illiterate people, students, housewives, musicians, writers, worker unions, retired, teachers, feminist choirs and Alpines.
The work uses dance as a common language through which to celebrate the vernacular, amateur, and professionally trained gestures of the participants. PERFORMANCE
Commissioned by Bi-City Biennale of Urbanism/ Architecture, Shenzhen 2017 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance, Shenzhen 2017 Production photographs PERFORMANCE
Commissioned by Hayward Gallery, London 2018 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
London Procession 2018 Production photographs Photo R. Cherry and C. Erre PERFORMANCE
Commissioned by Kunsthaus Bregenz 2018 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance, Bregenz 2018 Production photographs PERFORMANCE
Commissioned by Bienal de Cuenca, Ecuador 2014 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance, Ecuador 2014 Production photographs PERFORMANCE
Commissioned by Commissioned by Musei Civici and Comune of Cagliari, Italy Oulu Museum, Finland 2013 2019 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance: Oulu The School of Narrative Dance: Little Chaos 2019 2013 Production photographs Production photographs Photo by Kari Aronte PERFORMANCE
Commissioned by Castello di Rivoli, Turin 2014 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance – Rivoli Parade 2014 Production photographs PERFORMANCE
Commissioned by MAXXI, Rome Winner of MAXXI Price 2014 2014 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance, Roma 2014 Production photographs PERFORMANCE
Commissioned by 56th Venice Biennale 2015 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance, Venice Parade 2015 Production photographs PERFORMANCE
Berlin 2012 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance, Berlin Parade 2012 Production photographs PERFORMANCE
Commissioned by Faena Forum, Miami 2016 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance: Miami 2016 Production photographs PERFORMANCE
Commissioned by Centre Pompidou, Paris 2017 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance: Paris 2017 Workshops at Center Pompidou Production photographs
The School of Narrative Dance: Paris 2017 Production photographs PERFORMANCE THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
Ebensee, Austria 2015
The School of Narrative Dance: Die Große Parade 2015 Production photographs PERFORMANCE
Highline, NYC 2015 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance, New York Procession 2015 Production photographs Special guests: Living Theatre and Martha Graham PERFORMANCE
Commissioned by Kunsthaus Zurich 2017 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance, Zurich 2017 Production photographs PERFORMANCE
Commissioned by Documenta 14, Kassel 2017 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance, Kassel 2017 Production photographs PERFORMANCE
Commissioned by Fundação Eugénio de Almeida, Evora 2017 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance: Evora Procession 2017 Production photographs Photos by J. Carrapato and A. Russo PERFORMANCE
Commissioned by Peggy Guggenheim Venice 2018 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
WE the KIDS, Venice 2018 Production photographs Photo F. Bottazzin, D. Carrer and R. Ciriello PERFORMANCE
Commissioned by York Art Gallery, UK 2018 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
York Symphony 2017 Production photographs Photo by D. Chalmers PERFORMANCE
Commissioned by Kunsthalle Mannheim, Germany 2018 THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance, Mannheim 2018 Production photographs Photo C. Kleiner and H. J. Michel PROTEST
Protest Forms: Memory and Celebration explores the multifaceted forms and rich legacies of protest in FORMS: different countries, while also engaging with ecology of affiliation, empowerment, and belonging. The MEMORY artist articulates her long term interest in the role that the collective crowd, dance and music play into the creation of temporary communities united in AND demonstrating resistance. CELEBRATION 2016 - 2018 Performance, photography PERFORMANCE PROTEST FORMS: MEMORY AND CELEBRATION FORMS: PROTEST
Protest Forms: Memory and Celebration Part I, Quadriennale di Rome October 12, 2016 Performance at 16a Quadriennale di Rome at Palazzo delle Esposizioni, Rome, Italy Production photographs PERFORMANCE PROTEST FORMS: MEMORY AND CELEBRATION FORMS: PROTEST
Protest Forms: Memory and Celebration Part I, Fondazione Teatro Garibaldi, Modica October 16, 2017 Performance at Fondazione Teatro Garibaldi, Modica, Italy Production photographs PERFORMANCE PROTEST FORMS: MEMORY AND CELEBRATION FORMS: PROTEST
Protest Forms: Memory and Celebration Part II April 9, 2017 Performance at Queens Museum, New York Production photographs Photo S. Berger and K. Brooks PERFORMANCE PROTEST FORMS: MEMORY AND CELEBRATION FORMS: PROTEST
Protest Forms: Memory and Celebration (Sonic Version) Protest Forms: Memory and Celebration (featuring Giacomo Leopardi) October 7, 2017 2018 Public performance at BAK, basis voor actuele kunst, Utrecht Performance at Villa Medici, Rome Production photographs Production photographs Photo D. Di Lullo Nui Simu (That’s us) 2011 within the framework of ILLUMInations: 54th International Art Exhibition La Biennale Di Venezia, curated by B. Curiger
Estman Radio Drama – Venice 54TH 2011 VENICE Written and performed by 500 former factory workers from Marghera (Venice, Italy) in collaboration with students from the Venetian Universities, the radio BIENNALE play in 4 chapters was broadcasted by 75 Italian radios Video projection, installation (including national networks and Italian language radios abroad) during the entire 54th Venice Biennale. Students of the Royal Scottish Academy of Music and Drama of Glasgow performed the English version. PERFORMANCE 54TH VENICE BIENNALE
Nui Simu (That’s us) Estman Radio Drama 2010 2011 HD video projection, stereo, 15′ Desk, chair, radio, 4 CD players, 4 headphones, texts and archival photographs Installation view at ILLUMInations — 54th Venice Biennale, Arsenale Dimensions determined by the space curated by B. Curiger Installation view at 54th Venice Biennale, central pavilion Photos by V. Grandini Private collection 54TH VENICE BIENNALE In theimage: workers from Marghera writing andrecording theradio play Production photographs 2011 Estman Radio Drama At Manifesta 12 Palermo, Marinella Senatore presents an urban performance and multimedia installation, Palermo Procession. For Palermo PALERMO Procession, the local community is involved in its entirety. The project focuses on the idea of narration as an experience that can be explored PROCESSION through non-hierarchical learning, self-training and the creation of an active citizenship also 2018 through dance and the process parade. Public performance VIDEO PALERMO PROCESSION PALERMO
Palermo Procession 2018 Public performance Production photographs The new public work by Marinella Senatore: and limited function: not as a cumbersome and Modica Street Musical – The Present, The Past inhibiting legacy of alternative scenarios to the and The Possible, is a 4 hours long musical present, but in its capacity to bear witness to travelling around the city of Modica, with two the evolutions of the social fabric through the ACTS and an INTERMEZZO, The musical is historical transformations of such a unique entirely composed and interpreted with the territory in the Sicilian ecosystem: choice collaboration of over a hundred inhabitants of of stories, anecdotes, and significant local Modica and the surrounding area. Modica Street historical events will be recited by direct and Musical is inspired by public ceremonies, the indirect witnesses (storytellers, sign language civil and religious rituals of the Italian tradition, interpreter, anarchists, among others) Act II and festivals and mass events, interweaving this is the final act and focuses on the Possible, intangible heritage with the format of the street chosen as an alternative category to the future, musical. Modica Street Musical weaves together underscoring the need for tangible actions some of the formats used by Senatore in the past that will stem from recognition of the existent – from the cinema set to the theatre production, and informed by the careful reading of what passing through the school of narrative dance has been. Senatore thus invited the Italian for nonprofessionals – in order to reflect on composer Emiliano Branda to write a soundtrack the political nature of collective formations MODICA about Modica, starting with materials collected and on their impact on the social history of through a request made to residents in June to places and communities. Forms of protest by send in all the sounds, memories, and citations oppressed minorities re-emerge from the past STREET that, in their minds, form the sonic backdrop of of Sicily in the guise of music, choreographies, the city. The MODICA SOUNDTRACK is the legacy and storytelling, to merge with the repertoires MUSICAL: that Marinella Senatore’s public work is leaving of bands, groups and other collective creations to the population that so generously chose to troupes composed by younger generations. The participate in a musical about them and that exchange between the legacy and the present THE would project to the outside the complexity of is built through a new popular vocabulary that being together and forming a community today. brings the musical back to its origins: a 19th PRESENT, Century North American society show genre for Text by M. Lucchetti lower classes. The migrants, coming from the most diverse origins, in fact, found in this genre THE PAST the chance to give form to a theatre of revolt that could speak emphatically to the biggest AND THE number of people, creating inclusion, avoiding higher culture codes and articulating ideas of emancipation and common good among POSSIBLE working class people. In the same way, the Modica Street Musical seamlessly juxtaposes 2016 classical music pieces and pop songs, engaged theatre and entertainment, mass movements Public performance and ballet choreographies. Divided into three parts, the work devotes Act I to the Present, where dozens of formations will create a multifaceted performance with the intent of offering a sounding board to those who locally turn their energies to forming the new generations through music, dance and other activities. It is a great fresco of the city’s cultural liveliness, paying special attention to what brings people together and spawns a transitory community composed of people from very different walks of life. Intermezzo is dedicated to the Past. At this juncture, the past is evoked with a specific PERFORMANCE MODICA STREET MUSICAL: THE PRESENT, THE PAST AND THE POSSIBLE THE PAST THE PRESENT, MUSICAL: MODICA STREET
Modica Street Musical – The Present, The Past and The Possible 2016 Production photographs Photo by A. Samonà Podcast Radio studio www.estmanradio.com ESTMAN Estman Radio is an online radio open to the public who can share sounds and opinions. On the platform participants send radio plays, debates, interviews, RADIO lectures, music, scripts, sound art, noises, stories and ideas. Launched at Kunst Halle of St. Gallen (CH) PODCAST Estman Radio is an ongoing and itinerant project also hosted by Museums and Institutions as a recording station available to the public to perform live. 2014 – 2018 Podcast radio studio PERFORMANCE Estman Radio Estman Radio 2015 2018 Recording studio details Recording desk area Variable dimension Variable dimension Installation view at Palais De Toyko, Paris Installation view at ICA, Richmond ESTMAN RADIO RADIO ESTMAN
Estman Radio 2016 Estman Radio Recording desk area 2014 Variable dimension Recording studio details Installation view at MOSTYN, LLandundo, UK Variable dimension Installation view at Kunst Halle St. Gallen, CH Photo G. Meier by R. Rugoff within the framework of La vie moderne, Biennale de Lyon, France
For her residency with the Veduta platform, Marinella Senatore has been interested, she says, “in the history of Lyon from the point of view of its inhabitants.” She has spent months working with very different social groups in the Greater Lyon area, ranging from prosperous suburbs to workers’ housing projects. By assembling associations as well as private individuals, brass bands and opera singers, hip hop groups and amateurs, Senatore has been able to create a body of work that includes the creation of a hymn to modern life, – an “official anthem for the Biennale” – which is played throughout the event. She has organised what she calls “unexpected performances” with music and dance conservatories, amateur musicians, pensioners and various citizens, which take the form of surprise events in supermarkets, local shops and the street during the Biennale. Marinella Senatore is also THE WORD “opening” the Biennale, during the official speeches, with a choir of blind and visually impaired people, all COMMUNITY members of the non-profit group Valentin Haüy. They will be singing Les Canuts, a song written in 1894 by Aristide Bruant, about the 1831 silk workers’ rebellion FEELS GOOD in Lyon – a song they found relevant enough for our present time. As a testament to her collaborators, 2015 Marinella Senatore also presents two large-scale photographs that depict, at life-size, members of Installation, wallpaper, sound, 800 books, the different groups she has worked with to create collective reading section performances for La Biennale: the visually-impaired choir on the one hand, and a portrait featuring two groups of “readers” from both Saint-Cyr-au-Mont-d’Or and Vaulx-en-Velin, which is placed next to shelves filled with the books they have chosen themselves to read aloud in the exhibition spaces of La Sucriere.
Throughout the Biennale, groups of readers will read from those books, in various languages that range from French to Italian, Japanese to Persian, Arabic to Portuguese, Creole to Cambodgian, thus creating a Babel tower of language whose recordings can also be heard when the readers are away. PERFORMANCE THE WORD COMMUNITY FEELS GOOD FEELS COMMUNITY THE WORD
The Word Community Feels Good 2015 Installation: Billboard mt 5 x 4, found chairs, 800 books, 2 soundtracks, headphones Dimension determined by the space Installation view at Biennale de Lyon VIDEO
THE SCHOOL OF NARRATIVE DANCE Video VIDEO THE SCHOOL OF NARRATIVE DANCE THE SCHOOL OF NARRATIVE
The School of Narrative Dance, Ecuador The School of Narrative Dance: Ongoing Documentary 2014 2013 – 2015 Stills from video HD Video, sound, color 27’ Stills from video NUI SIMU (THAT’S US)
Video NUI SIMU (THAT’S US) Stills from video Single channelHDvideo, stereo, color 15‘ 2010 Nui Simu(That’s us) HOW U KILL THE CHEMIST
Video THE SCHOOL OF NARRATIVE DANCE Stills from video 8’10” SD video, 4:3,color, sound 2009 How DoUKilltheChemist–The Story PROTEST BIKE
Video THE SCHOOL OF NARRATIVE DANCE Stills from video 2’:39” HD Video, sound,color 2016 Protest Bike, Paris ROSAS
Video THE SCHOOL OF NARRATIVE DANCE Stills from video 2012 ROSAS –TheTrilogy THE SCHOOL OF NARRATIVE DANCE and contemporary art. to create asolidinstitutional culture ofmodern museums inItaly established in2003order of themost important contemporary art Italiani isa not-for-profit association of 27 deiMuseid’ArteAssociazione Contemporanea *Museo Chiama Artista given by AMACI – coexist withoutgivinguptheirown identity. the processes through are whichthey ableto live together in the same territory, to show putting together different communities that conceived asawork inprogress aimedat The project isaparticipatory work ofart the authors. actors (not from the communities) in front of that was thenplayed by two professional of theiridentity, worked to create ascenario sometimes separated proud groups andvery through an open call, the members of these Americans to Hispanics. Invited by theartist communities livinginHarlem,from African- Project unities representatives of the various of theproduction grant, theJammin’ Drama three years later thanksto the opportunity commenced York in2011New andexecuted by JohnCassavetes. Basedonaproject inspired by Love Stream, the1984filmdirected awarded grant offered by AMACI*, isfreely The finalwork that ispresented through the different viewpoints. allows theaudience to receive andinterpret various disciplines.Thedimensionofthework process ofparticipation inthework through Senatore’s participatory artcombines the Video PROJECT DRAMA JAMMIN’ THE SCHOOL OF NARRATIVE DANCE Stills from video mute and5withsound,color 6 channel4kvideoinstallation, 16:9,1 2016 Modica Street Musical SPEAK EASY
Video VIDEO HOW U KILL THE CHEMIST HOW
Speak Easy PRODUCTORES POR 1€ 2013 2009 HD video projection on forex panel 15’ 30”, monitor B/W B/W monitor, mute, loop video, mute, 3’ 3′ Still from video Stills from video Private collection MODICA STREET MUSICAL
Video THE SCHOOL OF NARRATIVE DANCE Stills from video mute and5withsound,color 6 channel4kvideoinstallation, 16:9,1 2016 Modica Street Musical