Over the years, Federica Amichetti’s artistic career, in which Nature and human feeling run parallel lines, has been enriched by different expressive languages and, within her installations, video, photography and drawing are able to coexist in an osmotic, natural way.
Francesca Della Ventura (FDV) Dear Federica, you graduated from the Academy of Fine Arts of Macerata with a thesis in aesthetics on the theme of “The body as theatre”, a very interesting theme that is very close to the work of many contemporary artists. I am obviously thinking of Marina Abramovič, Shirin Neshat, Sigalit Landau, Pina Bausch, just to name a few, for whom the body is understood as a political space of rebellion and resistance. Can you tell us about them? How much has this thesis influenced your subsequent artistic research?
Federica Amichetti (FA): “The body as theatre” was a complex thesis born above all from my great passion for the study of philosophy, aesthetics and theatre. From Brecht to Carmelo Bene to Marina Abramovič, passing through Artaud and Pina Bausch. These studies are always at the basis of all my artistic research, where the body, our body as an organism and as a language, is our stage every day and the theatre is nothing other than our body, capable of laying us bare.
FDV: You are an all-round artist: you work with painting, video installations, photography. Which medium do you prefer and why? Which is the most difficult one for you to master?
FA: I was born as a painter and painting has been the most congenial tool for expressing myself and is still the basis from which I start. My thoughts, the things I have to say, however, do not always find the right medium to reach others in painting, and so over time, there has been a need for the artistic gesture to evolve into new forms. The ability to master new design processes and new techniques where installation is the synthesis often allows me to express myself at my best.
FDV: Federica, I would like you to present the series “Momenti quotidiani” that we exhibit on inWomen.Gallery. How did it come about?
FA: These small drawings made on rosaspine with red ink and pencil originate from my work Mater Materia. Women dressed in red like cocoons. Liquid bodies, almost without identity if not in their extremities that place them in small daily moments and return them to normality.
FDV: You are the creator and artist of the PRIVATA project, a collective exhibition that has toured various cities in Italy. What is PRIVATA? Can you tell us about it?
FA:Art has and must have an active social role. There are many ways of making ‘social’ art, but it is important that our action or our reflection is rooted in the territory and responds to a real need that already exists in that territory. A 2014 project, unique in its kind, toured various exhibition spaces in Italy and immediately found a following and passion.
PRIVATA was and is a cultural, artistic and didactic project that, although I was its creator, could never have been realised if I had not found the sensitivity of curators such as Federica Mariani and Antonio Zimarino and of all the artists who took part. A project with many voices where art, with its own expressive means, became a vehicle for reflection on a cultural problem such as gender violence.
It was a project that brought together many artists who, with their different languages, made the exhibition new each time, and was followed and actively participated in by the institutions as well as by some families involved in the staff, with whom we went into the schools to meet and listen to the students. If violence is first and foremost a cultural problem, schools are the first place where action must be taken. The social intervention was precisely the work with schools of all levels and the ability to break habitual patterns, homologation, hegemonic thinking and thus open up a different ‘imaginary’.