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Viruses, bodies and revolutions: all the art of Francesca Alfano Miglietti

Cheeky, impetuous, sunny, cultured, surprising, annoying, sharp like a wodoo pin and soft like a baba. Francesca Alfano Miglietti is all this and much more. So cumbersome that it seems to swallow all the space around it (his forty-year research on the concept of the body in art will not be accidental!), Yet as tight and minute as a wren while he talks about the extraordinary works co-opted in his exhibitions. Able to overwhelm you with words or smoke in silence for a time that seems infinite. Ready to shatter the air with a noisy laugh, like an irremediable smoker, or to modulate her voice in a rough whisper to express the most uncomfortable thoughts.

The acronym FAM well symbolizes his way of living thecontemporary art, between witness and transgression, evolution and social criticism, fashion and love for culture, “because to talk about art, to understand and interpret it, you have to study, study and then study again”. An approach that has allowed her to stay inside the world of art without pretense or false modesty, with a strong cultural depth and an extraordinary creative force. Talents that emerge overbearing in the magnificent, disturbing exhibition Corpus Domini, from the glorious body to the ruins of the soul, set up at the Palazzo Reale in Milan and scheduled until January 30, 2022. The curators should have been two, but Lea Vergine, a lifelong friend-sister, she disappeared prematurely and FAM decided to keep her – she says so – dedicating the first room of the exhibition to her.

Scrolling through the milestones in his career, the curriculum sounds impressive, including books and magazines, exhibitions and juries, plus an inexhaustible list of awards and recognitions, both inside and outside of Italy. A few examples in no particular order: the exhibitions Bright Red e Fabio Mauri – The End, On the Invisible (Sightings, appointments and dissolution of contemporary art) e Futura – Changes and visions of the contemporary. The publications: Handbook of passions – Encounters, clashes and tensions of contemporary art, The suitcase without a handle – art design and Karaoke (with Enzo Mari), No time, no body, Mutant identities, Dangerous art, Vertical horizons. And then a member of the Leone d’Oro Jury at the Venice Biennale, founder of Virus Mutations, teacher in the best academies of fine arts in the country, up to Brera. Just to convey the idea.

FAM was born in the late 1950s in Cosenza, daughter of a Hispanic-Lecce crossbreed. Out of measure from the start. «I was born of seven kg. That year, like me, two more were born in Italy. Now we would talk about the outcome of pregnancy of a diabetic patient in latency, then I was just a big child, the second of three children, with a girl mother and an anarchic, wasteful, poetic father. They had a quarter of a century of difference, they left shortly after, as if one could not live without the other ».

A mother difficult to please, a father who forgave everything. “We were rich and poor in the space of a moment, from the car with the driver to counting the lire for shopping. My father was like that: he had his scarves made twice as long as normal, he had bought a sawmill to make me toys (he must have made one, but the intention was good), and when I cried he collected my tears in a bottle. I have long hoped to die before him. It didn’t happen like that: I was almost thirty, but he knew I could do it. When we opened her safe, it contained the bottle of tears, baby teeth, and our elementary school reports. He was a beautiful person. His name was Antonio Giuseppe Riccardo Miglietti ».

Being in love with her father hasn’t stopped her from being a rebellious daughter. On the contrary. «It was necessary to rebel. I started by choosing the art school. After high school, I enrolled in the DAMS in Bologna. Away from home, in a city I did not know, but which was seething with energy. It was 1997 and one of the first people I met was Bifo ».

Franco Berardi known as Bifo, a degree in Aesthetics and a visionary, racial intelligence, had just been cleared of the charge of association with an armed gang (read Brigate Rosse), and was leading the creative wing of the Bolognese Autonomy. In the year the future began – title of a good book by Bifo – FAM began to build his. «My luck was not to frequent the art world, but the political, revolutionary one. I started talking about art to people who didn’t consider it much, inventing a different approach, a different language. I remember that I organized a trip to the hills to go see the stars, as if it were a performance! Over time, the movement ended up re-evaluating Dadaism and Futurism ».

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