Pedro Cera is proud to present the second exhibition of Marinella Senatore at the gallery.
Like much of Senatore’s practice, also the title of her present exhibition echoes the artist’s ongoing interest in the performative. The performative as a way of gathering, a political act and a way of resistance. Selected from the artist’s archive of slogans and actual historical documentation of a vast body of protests, which have shaped modern and contemporary history, the title of the show aims to challenge our understanding of beauty an its relation with politics. Frequently perceived as a static category, the primary concern of which, is aesthetic contemplation rather than activism, Senatore questions this belief system, by making the language of beauty and poetry the key instruments in her practice. Through examining how different communities use beauty and poetry and by appropriating some of these strategies, may it be by her performances, collages or sculptures, Senatore opens the door to aesthetics as a social tool, crushing thus the misconception that aesthetics are antagonistic to politics.
With a background in music, cinema and art, Marinella Senatore takes on the role of a conductor, who orchestrates a situation, which in it self, becomes a platform for engagement, empowerment and the emancipation of communities. By her performances, Senatore points to the force of community as an alternative social formation, which can, among other, help us to envision new social orders that abolish notions of authority and create a significant shift in our understanding and organisation of power structures. Making the procession central to her work and a culmination of her research, Senatore echoes various kinds of political gatherings, may these be workers protests, riots, religious processions or carnival parades. Moreover, with the body here at the centre of the artist’s interest, Senatore explores possibilities of non-verbal communication, while pointing to the politicisation of the body through history and its homogenisation by ideology.
The School of Narrative Dance, an ongoing project and a backbone of the exhibition, like much of the artists work, builds on the idea of gathering and community, with a strong emphasis on the body, explored here, through dance, choreography and the possibility of generating non-verbal narrative. Dance here becomes a symbol of resistance and a way of expression. Through the repetition of motives, such as the majorette or the gymnast, Senatore scrutinises the body in relation to power and the disappearance of its singularity through parts of history.
May it be through the performative or though other media, such as sculpture, collage or drawing, the enactment of assembly and of gathering is at the heart of Marinella Senatore’s practice. Breaking with difference and notions of the Other, Senatore enacts a world of togetherness and of community, allowing us to envision and articulate new ways of being, while challenging the politics of the present.
The work of Marinella Senatore has been exhibited widely, including exhibitions and projects at the Kunsthaus Bregenz; Magazzino, New York; Maxxi Museum, Rome; Centre Pompidou, Paris; Queens Museum, NY; Kunsthaus Zurich; Palais de Tokyo, Paris; Castello di Rivoli, Turin; 54th Venice Biennale, Whitechapel Gallery, London; Matadero, Madrid; MACRO Museum, Rome; 13e Biennale de Lyon; Bozar, Brussels; 11th Havana Biennial; Visible Award, Serpentine Gallery, London; ISCP, NY; Palazzo Grassi, Venice; and Moderna Museet, Stockholm, among other.