Caterina Silva - Fondazione Spinola-Banna

Caterina Silva

Caterina Silva
Born in Rome, 1983
info@caterinasilva.com
www.caterinasilva.com

residencies
2018 Arp Residency, Cape Town, South Africa
2018 Nordisk Kunstnarsenter Dale, Norway
2016 ACC-Rijksakademie Dialogue and Exchange, Asia Culture Center, Gwangju, South Korea
2014-2015 Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands
2012-2013 Cité Internationale des Arts, Paris, France

grants
2018 Ministero degli Affari Esteri e della Cooperazione Internazionale, IT
2015 Van Bijlevelt Foundation, NL
2014 DE.MO./Movin’Up, Giovani Artisti Italiani, IT
2014 Dutch Ministry of Education, Culture and Science, NL
2012-2013 Incontri Internazionali d’Arte
2001-2002 European Community Grant, EU

solo show
2018 Impressioni, Bosse&Baum Gallery, London
2017 Amor Proprio, performance, curated by C.L. Pisano, Museum Centrale Montemartini, Rome
2016 Münster, Galleria Valentina Bonomo, Rome
2016 Senza Sistema, Bosse&Baum, London
2016 Sacrosanctum, curated by Adalberto Abbate, Oratorio di San Mercurio, Palermo
2016 Miart 16, Milan, w/Riccardo Crespi
​2015 tbc(august), Bosse&Baum, London
 2015 Paolo, Marco, Ashok..., RijksOpen, Project Space South, Rijksakademie, Amsterdam
 2015 Soggetto.Oggetto.Abietto, Riccardo Crespi Gallery, Milan
 2014 Story of the City of Brass, RijksOpen, Rijksakademie, Amsterdam
 2014 Fear Eats the Soul, the Soul Eats Fear, Riccardo Crespi Gallery, Milan
 2010 Subverting Dualities, curated by Aria Spinelli, VM21 Gallery, Rome

group show | performance
2018 Combat Prize, winner of painting section, Museo Giovanni Fattori, Livorno
2018 Storm II, performance in collaboration w/ Andrea Koch, satellite event of Block Universe festival, Bosse&Baum, London
2018 Storm I, performance in collaboration w/ Clover Peake, Bosse&Baum, London
2018 Tunnel, Passetto del Biscione, Rome
2018 Finite/Infinite, curated by Emma Van de Merwe, Everard Read-Circa, Cape Town (duo)
2018 Investec Cape Town Art Fair 2018 , curated by Alessandra Atti Di Sarro, ARP_Cultural Platform section, Cape Town
2018 Cold-Cold/ Rain-Rain/ Fsch-Fsch /Tic-Tic, performance in collaboration with Ruth Prowse School of Art, Fairview Park, Cape
Town
2018 De Lachende Cavalier, curated by Abstracte, Wijnstraat 119, Dordrecht
2017 Deposito d’arte italiana presente, curated by Ilaria Bonacossa and Vittoria Martini, Artissima, Turin
2017 Herstories, curated by Juliette Desorgues, Protein Studios, London
2017 The Best of the Best, Temple Gallery of Art, Rome
2017 You see me like a ufo, curated by Marcelle Joseph, Ascot, London
2017 SSOL/AP-Amsterdam, performance, The Family Gym, Rozenstraat-a rose is a rose is a rose, Project Space South-Rijkskademie,
Vijzelvintage, Amsterdam
2017 SSOL/AP, performance, Galleria Valentina Bonomo, Rome
2016 A.P., performance, Asia Culture Center, Gwangju
2016 Anthropocene, Riccardo Crespi, Milan
2016 Secret Society of Lovers, performance, Bosse&Baum, London
2016 15Kg, Start Art fair, w/Bosse&Baum at Saatchi Gallery, London
2016 Sacrosantum, curated by Adalberto Abbate, Oratorio di San Mercurio, Palermo
2016 Jolly Joker with Maria Barnas, curated by L. Reitmeier, C. Biocca, B. Hipp, Amsterdam
2015 Painting Now, Riccardo Crespi Gallery, Milan
2015 16° Cairo Prize, Palazzo della Permanente, Milan
2015 Art 15, with Bosse and Baum, Olympia, London

2015   Dynamo art factory, Pistoia
2015   The reconfigured painting, curated by R. Gavarro, Canal 05 Gallery, Brussels
2014   Francesco Fabbri Prize, Villa Brandolini, Pieve di Soligo, Treviso
2013   Room 8111, Cité des Arts, Paris
2013   She views herself, curated by Doris Kloster, Air France, Paris
2012   Giorni Felici, invited by Enzo Cucchi, Casa Testori, Novate-Milan
2012   Nero su bianco, project for Eni, Palazzo delle Esposizioni, Rome
2012   Vetrinale, w/G. Pontrelli, Festival of Relational and Performative Arts, curated by C. Casorati, Rome
2012   Premio Roma Centro Storico, curated by C. Casorati, Monte della pietà, Rome
2012   Reality Show, curated by S. Di Giugno, Tiziana Di Caro Gallery, Salerno
2012   Portonaccio, curated by Achille Bonito Oliva, Ex Magazzini di Via Arimondi, Rome
2012   Tutto, 26cc space for contemporary art, Rome
2012   No beast so fierce, curated by Federico Mazzonelli, Bonelli Lab, Mantova
2011   Non è facile/It is not easy, curated by C.L. Pisano, Palazzo Incontro, Rome
2011   Brooklyn Boudoir, 400S2nd, NYC
2011   Via Arimondi, Gallery of Art-Temple University, Rome
2010   Impresa Pittura, curated by C. L. Pisano, R. Gavarro, C. I. A.C. Museum, Genazzano, Rome
2008   Poetiche della precarietà, curated by Francesca Alfano Miglietti, Future Net Group, Milan
2008   Scanning: Body-Project, Studio Soligo, Rome
2008   The wedding über hosted for Black & Yellow, with H.Hedinge, Almhult, Sweden
2007   Uh! with Kinkaleri, Palazzo Re Enzo, Netmage Festival, Bologna
2007   Viaggio in tempo reale, Roma Poesia ‘07, performance invited by S. Carella, Teatro Colosseo/Fondazione Baruchello, Rome
2007   CoLab 07, Teatro Colosseo (Rome), Massma (Ronneby), Espacio 01 (Bogotà),
2007   Meninas Project, Pune, India
2007   Human Solo Show, ESC Atelier Occupato, Rome

curatorial
2018 Tunnel, Passetto del Biscione, Rome
2011-2013 Untitled (the punk sister of Agnes Martin) Project with dance maker Cristina Rizzo + book
2012 It: 10 Copies of Au Bal by Berthe Morisot by 10 artists, Private Flat, Paris
2011 I am not there and don’t live here anymore, Ex Magazzini di Via Arimondi, Rome

education
2001-2002 Camberwell College of Arts, London
2003-2006 Scenography, Istituto Europeo di Design, Rome
2003-2005 Philosophy, La Sapienza, Rome
2014-2015 Rijksakademie van beeldende kunsten, Amsterdam

selected online press

nterview with Raffaele Gavarro on Exibart (Ita) 2017
www.exibart.com/notizia.asp?IDNotizia=54584&IDCategoria=52

Interview with Marco Arrigoni on ATP Diary (Ita) 2017
atpdiary.com/caterina-silva-e-la-politica-del-linguaggio/

Secret Tongues : Caterina Silva shares her intuitive visual language, Siska Lyssens, Wallpaper Magazine, (online), 2015
www.wallpaper.com/art/secret-tongues-caterina-silva-shares-her-intuitive-visual-language-in-tbc-august

Caterina Silva’s wild unruly paintings take inspiration from female artist forebears, Himali Sing Soin, Artsy , (online)2015
https://www.artsy.net/article/artsy-editorial-caterina-silva-s-wild-unruly-paintings-take-inspiration-from-female-artist-forebears

Incorniciare una mancanza : Caterina Silva chez Riccardo Crespi, Giulia Meloni, Artribune (online), 2015
www.artribune.com/2015/05/incorniciare-una-mancanza-caterina-silva-chez-riccardo-crespi/

Impressioni, 2018, installation view, Bosse&Baum Gallery, London

impressione 0, 2017, pigment, spray-paint, oil, ink, barley, soil and dust on canvas, 150x150cm

impressione 1, 2018, pigment, spray-paint, oil, ink, barley, soil and dust on canvas, 150x150cm

impressione 6, 2017, pigment, spray-paint, oil, ink, barley, soil, turmeric powder and dust on canvas, 180x180cm

Amor Proprio 2017, Centrale Montemartini, Rome
                            video documentation: https://vimeo.com/254562620

  Amor Proprio (Self-love) is the research of a silent and powerless language, detached from history and far
from discourses. Inspired by Zen, glossolalia and the writings of Theresa Cha, korean-american seminal artist.

Amour Propre, 2016, ink, cosmetics, nail varnish, sheetmask and markers on canvas, 150x220cm
                      Installation view at Asia Culture Center, Gwangju

SSOL-AP_Amsterdam 2017
                                        video documentation : https://vimeo.com/239509467

SSOL/AP is a performance project started in London in 2016 (Bosse&Baum Gallery), later re-staged in Gwangju (Asia Culture Center)
and in Rome (Galleria Valentina Bonomo). It took its final shape in Amsterdam in July 2017 through 4 new studios of the performance
held in various location of the city (Rozenstraat a rose is a rose is a rose, Rijksakademie Project Space South, The Family Gym and Vij-
zelvintage) SSOL/AP was born as an attempt at expanding my research on the limits of language shifting the focus from the production
of objects-painting to the creation of a living rhythm. In the last years I developed a series of gestures in order to overcome the limits of
language and representation during the act of painting.
The transcription of these actions became the score of a choreography, responsive to both the place in which it is staged and to the par-
ticipants’ attitudes and capabilities. Translated by the performers, freed from the physicality of the painting tools and devoid of produc-
tive goals, the actions became a rhythm of around 20 minutes. The different natures of the chosen locations allowed us to modify the
piece and to experiment with different lengths, audiences and accidents.

The things didnt wait for me III, 2016, acrylic, oil and spray paint on linen stapled on board, 200x100cm

Calcutta, 2016, acrylic, oil, water-soluble oil, rain, pencil and earrings on canvas/ acrylic and fire on textile,
hangers/ overpainted shoes, ca.140 x 200 cm

Marco, Paolo, Ashok, Luca, Luigi, Adele, Alighiero 2015, installation view, Rijksakademie Open, Amsterdam

Che succede alla cosa quando viene detta?
E’ possibile immaginare una forma aperta che superi l’inadeguatezza del linguaggio nel definire il reale?
O invece il silenzio è un’opzione migliore?

Cosa succede al mio pugno quando apro la mano?
E subito il silenzio ritorna discorso nelle mani di un potere sempre pronto a trasformare azioni in oggetti.
Il vuoto che genero si riempirà di senso?
La prospettiva da cui guardo è Impotenza.
Impotenza non è debolezza ma una pratica rigorosa di accettazione del paradosso.
Un’utopia quotidianamente riformulata.
Un esercizio di non potere.

Considero la mia pratica pittorica una lotta con il linguaggio e i suoi sistemi di classificazione. Uso la pittura per sondare le parti opache
della mente, quello che non è possibile altrimenti spiegare a parole. Genero immagini aperte, disponibili all’interpretazione dell’osserva-
tore, traduzione intuitiva di un processo di decostruzione delle mie sovrastrutture interne sviluppato attraverso la materia della pittura,
intesa come complesso di gesti, azioni, emozioni, tecniche, materiali, e la sua traduzione in esperimenti coreografici e performativi.
Le forme che si producono sulla tela sono impressioni, tracce che il presente lascia sulla mia coscienza e che io assorbo e restituisco prima
che sia possibile codificarle.

©Caterina Silva 2018