Maria Vittoria Cavazzana 01.oct 2022—29.oct 2022

Maria Vittoria Cavazzana 01.oct 2022—29.oct 2022

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Photo: Alberto Messina


Maria Vittoria Cavazzana's work draws its formal references from the fantasy world, anime, and video games. For Platea, the artist presents a sword suspended in mid-air, rendered inaccessible by the thickness of the glass case. If, as in the virtual world, there were no difference in density between one dimension and another, and it were therefore possible to pass through the glass, the viewer would be faced with a sword ready to be "worn."

The handle of the sword, its dimensions, and thickness are faithful to those of an authentic weapon. Mimicking the work of a blacksmith for the precision with which she has worked the materials and, at the same time, distinguishing herself from it through the attitude at the core of her work, the artist has produced this sword by experimenting with resin and precious metals. Rather than with the patience of a craftsman, Cavazzana approaches these materials with the curiosity of an alchemist. Tin, quartz, silicon carbide, and paint contribute to making her weapon an irresistible and precious object. To accentuate this allure emanating from the object she forged, the artist has installed a sound inside the showcase, produced in collaboration with Riccardo Salin, a sound designer specializing in audio production for entertainment products in the television and video game industry. In doing so, the work exceeds the limits imposed by Platea's space, unlocking infinite visions in the minds of visitors. The soundtrack was created by sequencing and remixing various tapes from the gaming industry. Reactivating references that are part of the collective imagination of a generation that, between the '80s and '90s, was shaped by the first video games, the fantasy world, and Japanese anime, the artist proposes an escape window to a world parallel to ours.

Wanting to place Cavazzana's work in the contemporary debate that, in recent decades, has made the fantasy genre one of the materials useful for reinterpreting issues related to social inequalities and the ecological survival of the planet, they have in common the invocation of a simulated dimension, where something or someone can be reborn. However, at the core of Cavazzana's intervention, there is no explicit social claim or ideological manifesto. In front of the sword, a reality manifests itself that boasts no victors, and even less so, winners. Despite the many invitations to "take and handle the sword" that the artist indirectly addresses to her audience, there are no instructions on how it should be used. I saw the guts of the angel is an image that remains suspended between a subjective vision and a shared mirage. Something that, emanating energy now white, now dark, urges us to renegotiate the threshold of the possible.


Maria Vittoria Cavazzana lives and works between Verona and Venice. She earned a bachelor's degree in multimedia arts from IUAV University in Venice in 2017. She furthered her studies with a master's degree in Fine Arts at Chelsea College of Arts in London in 2021. She has participated in the following solo and group exhibitions: Collettiva Giovani Artisti, Fondazione Bevilacqua La Masa, Venezia (IT); London Grads Now, Saatchi Gallery, Londra (UK); 24/7, The Shop Front gallery, Londra (UK); Futuro Arcaico Festival, Museo Nuova Era, Bari (IT); The Only way out is through, Spazio Aarduork, Venezia (IT); Rally, group exhibition, Chelsea College of Arts, London (UK); Revenge of The real, Rupture Xibit Gallery, Londra (UK); See you on a dark night, Plataforma², Barcelona (ES).

Her research spans drawing, sculpture, photography, and installation. Her practice explores themes related to individual and collective identity research through visions, traumas, and personal and shared memories. Her work incorporates formal and theoretical references related to occultism, pagan and religious rituals, the science fiction universe, exploring the space between reality and imagination.


Giulia Menegale is an independent curator and researcher. She completed a master's degree in Contemporary Art Theory at Goldsmiths, University of London, in 2020 and a bachelor's degree in Multimedia Arts at IUAV (University of Architecture of Venice) in 2018. She has collaborated as curatorial assistant, editor, and researcher with Looking Forward C.I.C. (London, UK), Castello di Rivoli – Museum of Contemporary Arts (Turin, IT), Island gallery (Brussels, BE), and Taryn Simon Projects (New York, US). Her articles have been published by WCS/CD (Belgrade, RS), Subbcultcha (Amsterdam, NL), Artillery Mag (L.A., US), and other academic journals. She participated in the following residencies and curatorial courses: Bagni d’Aria (Turin, IT), Salzburg Summer Academy (Salzburg, AT), IMMA- Art and Politics Summer School (Dublin, IE), Unidee, Fondazione Pistoletto (Biella, IT), and Ramdom (Lecce, IT). In 2020, she co-founded a transnational collective, c-c-q (Collective for Constant Questioning), and an online platform ( that investigates curatorial practice through a series of interviews with internationally renowned curators.

Using an intersectional perspective and developing an analysis of reality through affect theory and institutional analysis, Menegale's research focuses on the epistemological value of negative emotions and their potential role in subject formation processes, beyond prevailing social paradigms internalized by individuals.