. The project was conceived as a single exhibition in two chapters: after CAPUT CAPITIS I, presented at the end of March in Milan, this second part, curated by Pietro Gaglianò and Gabriela Galati, is based on two main axes: to reveal the structural continuity between different forms of dominion in a path that leads to unimaginable scenarios of control; and at the same time, to propose possible margins of change, of rupture, of unpredictable openings to new paths and ways out of these structures. The title alludes to the fact that the word "capitalism" comes from the Latin caput capitis, or head of cattle.
In the exhibition, three narratives alternate from these axes.
The first is based on the cloning and genetic modification of five monkeys in January 2019 by two teams of scientists at the Institute of Neuroscience of the China Academy of Sciences in Shanghai. The DNA editing technique has been applied to monkeys to modify the gene that controls sleep, making them sleepless with the aim of studying this disorder and other diseases related to it. Pers portrays some of the genetically modified subjects in oil paintings, drawing attention to a limit practice between different species - and certainly one already practiced within the same human species - that operates a type of hybridization between human and non-human, but without a true and proper purpose of partnership, as Roberto Marchesini would say, but of simple and overwhelming abuse and exploitation.
The second narrative focuses on what can be called situations of animal rebellion: bulls and cows fleeing from the slaughterhouse, or from a bullfights as a gesture of re-appropriation of their own destiny, a gesture of resistance, of interruption of a future predetermined by humans and of the system that determines it. A series of pencil and ink drawings are inspired by events of animal rebellion that actually took place.
The two previous conceptual threads are always connected through the main project, always in progress, that the artist has been carrying out for more than twenty years, ART_HISTORY. In the artist's words, ART_ HISTORY "consists in exchanging one of my paintings with an animal that was destined to be slaughtered: a horse, donkey, rabbit, lamb, chicken, pig, duck, goat, cow, goose...depending on project. The painting has the same height and dimensions as the animal to be saved. And I do not decide who will come with me: the butcher, or breeder makes the choice. A contract certifies the exchange.” In this way the project opens several questions on the attribution of an economic value to a sentient being as well as to a work of art, and at the same time on the possibility of art to interact with the actual situation and save a life. In this exhibition, a selection of works related to the Art History practice and to the liberated animals will be presented, starting from the exchange contracts. These include ART_HISTORY / Vucciria (2018), an action carried out in Palermo for Manifesta 12 (*).In this way the project opens several questions on the attribution of an economic value to a sentient being as well as to a work of art and, at the same time, on the possibility of art to interact with real facts and save a life.
ART_HISTORY is also closely linked to the other fundamental project of Pers’ practice: the residence for artists and animal sanctuary RAVE East Village Artist Residency, founded together with his sister Isabella, in which every year an international artist is invited to live with the saved animals and to develop an artistic project that is somehow the result of this interaction.
Coinciding with both exhibitions, and as an artistic operation connected to the RAVE project, the first vegetarian village in Italy has just been inaugurated in Soleschiano di Manzano, where some of the animals saved from the slaughterhouse and the logic of the market live, and are now cared for and looked after by Pers within a more natural context.
Tiziana Pers studied Foreign Languages and Literature, and developed her doctoral research on the dialogue between visual arts and literature. Among the last public events to which she took part are worth mentioning: Ex Wunderkammern, double solo show with Regina Josè Galindo, curated by Mylène Ferrand and Robert Baramov at the National Museum of Natural History in Sofia (BG), Art_History / Vucciria, (*) 2018, performance realized in scope of Memoria Collettiva. Casa Spazio hosts Casa Sponge curated by Lorenzo Calamia and Serena Ribaudo / Border Crossing collateral event MANIFESTA 12, Palermo and her participation with the video RAVE to the project THE INDEPENDENT curated by Elena Motisi and NESXT, MAXXI National Museum of the XXI Century Arts, Rome. Her works and performances have been presented in numerous museums and institutions, among which: Lapidarium Museum, Novigrad, Croatia; Seoul Biennale of Architecture and Urbanism, South Korea; Drawing Madrid (aA29 Project Room) Circulo de Bellas Artes, Madrid; Musée de la Chasse et de la Nature in Paris; PAV Living Art Pavilion Turin; Museum of Natural History of Trieste and Milan; Palazzo Pretorio Volterra; Castello di Rivoli Museum of Contemporary Art; Italian Market Hong Kong; One Night Stand Gallery, Sofia; Prix-Pictet Palais De Tokyo Paris; Old Police Station, London; 53. Venice Biennale e. c .; Novosibirsk State Art Museum, Russia; TriesteContemporanea, Trieste; N.Est Museo MADRE Naples; DIFC Dubai; Dade Public Library Miami. She has lectured at numerous universities and institutions, including: MAXXI Rome Museum, Polytechnic of Milan, University of Trieste and Udine, PAC Contemporary Art Pavilion in Milan, NABA Milan, Contemporary Dolomites, École nationale supérieure d'arts de Paris-Cergy.
CAPUT CAPITIS II
Curated by Pietro Gaglianò and Gabriela Galati
Media partner That’s Contemporary
Opening May 3rd, 6.30pm
aA29 Project Room Caserta
Via Filippo Turati, 34