ERASURE TEST (2020)
is a photographic series of staged still lives that centers on motherhood and its discomforts.
Although aesthetically appealing and seemingly based on advs campaigns, image presents only few objects derived from crime news articles of murderous mothers aiming at composing aseptic anti-crime scenes that uncannily eschew the brutality and the rhetorics inherent within the mass-media representation of such murders. After the shoot, each image is then “erased” by hacking its textual code creating digital visual distortions: a tactic to further impose a distance from the original narratives thar pair with a critique of motherhood as a repressive woman's condition.
PINK RUST (2019)
is an aggregative work comprising of expanded text installation, photography, and video that quotes and expands critical feminist approaches.
Throughout the installation, an ignote language dominates the walls, the floor, and the photographs; if for Barthes, “language is a corpus of prescriptions and habits common to all writers of a period”, here it becomes a newly created logos that rejects the patriarchal logic of common language.
HE WANTED TO BE INFINITE (2016)
A video and an analysis of the end of God in a science-technology laboratory.
VISUAL DISCIPLINE (2015)
A photographic study on writing.
Chromed steel tubolar, humus
The sculptural gymnasium is the lodge of ‘masons’ living in ‘sad areas’ of northern Italy, subjected to identity stress during the transition from plough to industry.
Chromed steel tubolar, humus
The sculptural gymnasium is the lodge of ‘masons’ living in ‘sad areas’ of northern Italy, subjected to identity stress during the transition from plough to industry.
THE JEALOUSY OF THE FORM (2015)
The sculptural gymnasium is the lodge of ‘masons’ living in ‘sad areas’ of northern Italy, subjected to identity stress during the transition from plough to industry.
A SPARK IN THE SUBURBS (2014)
The sphere inside the inverted pyramid is thought of as the logo of an era that will follow the fall of patriarchy.
LEONARDA D’INZAGO (2015)
A study on painting and its influence on a female body.
VISUAL GYMNASTICS (2011-13)
These early works, whether conceived as ‘relational devices’ or bodily actions and constraints, are aimed at questioning spectatorship and nurturing unexpected behaviors beyond conventions dictated by sight and official art spaces.
I see the stars (2011) invites spectators to bounce on a trampoline to see a collection of paintings and drawings displayed in a corner. Buren (2012) consists of a fabric artwork to be taken off from the wall and used by people to jump during an exhibition.
Benaglia's own body appears in the extended series Manual behaviour (2011) in which the artist deals with works from a leading Italian collection by intuitively mimicking their layouts or, conversely, performing antithetical poses that contrast with works' very formalization or content. Injecting a new aesthetic experience to photographs and sculptures by established artists such as Vanessa Beecroft, Tony Cragg, Richard Long, Paul McCarthy, Giuseppe Penone and Ettore Spalletti, Benaglia thus threatens contemporary art history without any worship or categorization.
WANNA BE (2010)
A video animation about the effectiveness of the real estate system in the background of a Milan commuter.