SABRINA MUZI
"Walk backwards, to the side, and then forward, on the opposite side, back again, stop, and then proceed, again ... The direction of the gaze does not seem to change, although you go along with its wide range of eye rotation, while the body, which also means mind or soul, forgets nothing, gathers together everything it has encountered, digests and transforms it.
A search path may have more or less this image, and so I see mine.
This meeting on my video work, extracted from a practice that unfolds through various media, is an exploration of the themes and imagery that have accompanied me, and that every time, I go blindly into boundless territories of body and ritual, metamorphosis and symbolism, nature and cyclicality. "
A search path may have more or less this image, and so I see mine.
This meeting on my video work, extracted from a practice that unfolds through various media, is an exploration of the themes and imagery that have accompanied me, and that every time, I go blindly into boundless territories of body and ritual, metamorphosis and symbolism, nature and cyclicality. "
BIO:
Sabrina Muzi began her artistic practice at the beginning of the nineties, working first with installation and drawing and from 1996 focusing on video, photography, video installation and performance. From the 2000s she began to work also in spaces not dedicated to art, creating urban interventions, participatory performances, site-specific installations, and alternating the activity in Italy with participation in international research programs, where she carried out projects contextualized to the place. She is invited in various residency programs, especially in the Far East, including Atlantic Center for the Arts (Florida, 2001), MMCA of the National Museum of Modern and Contemporary Art in Korea (Seoul, 2007), TAV, Taipei Artist Village in Taiwan (Taipei 2010), and recently in China (2017) from Handshake 302, a group of artists, anthropologists and architects active in Shenzhen, in which it involves the community of an urban village in a performative, video and photographic project. Her search for a comparison with the "place" also translates into interventions in natural environments, such as the site-specific work carried out in Colle San Marco in the Marche region (Ascoli Piceno 2011) which was then awarded at the Terna Award in 2012, or in the work carried out in the Cardigliano Woods of Salento (Specchia, 2014).
Her work has been exhibited in galleries, museums, public spaces, art fairs, festivals and video shows in Italy and abroad, including: Abc / Oltredimore / Casabianca / Galleria Neon / VideoartBook / GAM / Fruit / ArteLibro / Ex Chiesa di San Mattia (Bologna); Open Space / Isola art center / Fabbrica del Vapore / Art&gallery / Care of / Miart / Visualcontainer (Milano) / Sensus (Firenze) / ArtVerona (Verona) / Foro Boario (Modena) / Studio Miscetti / CIAC / Tempio Adriano (Roma) / Dislocata (Vignola) / Galleria Boccanera (Trento) / Galleria Marconi (Cupramarittima) / Centro Arti Visive Pescheria (Pesaro) / Mole Vanvitelliana (Ancona) / Rocca Sforzesca (Imola) / Palazzo Lucarini (Trevi) / Palazzo Arnone (Cosenza) / Ex Manifattura Tabacchi (Città S.Angelo) / Palazzo Tiranni (Cagli) / Gamec (Bergamo) / Scotland’s Centre for Photography (Edinburgo) / MNAC (Bucarest) / The Bass Museum of Art (Miami) / Museum for Contemporary Art (Tel Aviv) / Yunnan University Art Museum (Kunming) / IASK Changdong (Seoul) / Threasure Hill Cross Gallery (Taipei) / Videonale (Bonn) / Instants Video (Manosque).
Sabrina Muzi began her artistic practice at the beginning of the nineties, working first with installation and drawing and from 1996 focusing on video, photography, video installation and performance. From the 2000s she began to work also in spaces not dedicated to art, creating urban interventions, participatory performances, site-specific installations, and alternating the activity in Italy with participation in international research programs, where she carried out projects contextualized to the place. She is invited in various residency programs, especially in the Far East, including Atlantic Center for the Arts (Florida, 2001), MMCA of the National Museum of Modern and Contemporary Art in Korea (Seoul, 2007), TAV, Taipei Artist Village in Taiwan (Taipei 2010), and recently in China (2017) from Handshake 302, a group of artists, anthropologists and architects active in Shenzhen, in which it involves the community of an urban village in a performative, video and photographic project. Her search for a comparison with the "place" also translates into interventions in natural environments, such as the site-specific work carried out in Colle San Marco in the Marche region (Ascoli Piceno 2011) which was then awarded at the Terna Award in 2012, or in the work carried out in the Cardigliano Woods of Salento (Specchia, 2014).
Her work has been exhibited in galleries, museums, public spaces, art fairs, festivals and video shows in Italy and abroad, including: Abc / Oltredimore / Casabianca / Galleria Neon / VideoartBook / GAM / Fruit / ArteLibro / Ex Chiesa di San Mattia (Bologna); Open Space / Isola art center / Fabbrica del Vapore / Art&gallery / Care of / Miart / Visualcontainer (Milano) / Sensus (Firenze) / ArtVerona (Verona) / Foro Boario (Modena) / Studio Miscetti / CIAC / Tempio Adriano (Roma) / Dislocata (Vignola) / Galleria Boccanera (Trento) / Galleria Marconi (Cupramarittima) / Centro Arti Visive Pescheria (Pesaro) / Mole Vanvitelliana (Ancona) / Rocca Sforzesca (Imola) / Palazzo Lucarini (Trevi) / Palazzo Arnone (Cosenza) / Ex Manifattura Tabacchi (Città S.Angelo) / Palazzo Tiranni (Cagli) / Gamec (Bergamo) / Scotland’s Centre for Photography (Edinburgo) / MNAC (Bucarest) / The Bass Museum of Art (Miami) / Museum for Contemporary Art (Tel Aviv) / Yunnan University Art Museum (Kunming) / IASK Changdong (Seoul) / Threasure Hill Cross Gallery (Taipei) / Videonale (Bonn) / Instants Video (Manosque).
With the sponsorship of the Municipality of Rimini