Milan

Marinella Pirelli, Film ambiente (Environmental Screen), 1969/2004, mixed media, dimensions variable.

Marinella Pirelli, Film ambiente (Environmental Screen), 1969/2004, mixed media, dimensions variable.

Marinella Pirelli

Museo del Novecento

While Italian scholarship is now beginning to recover the legacies of Maria Lai (1919–2013), Ketty La Rocca (1938–1976), Lisa Ponti (1922–2019), Nanda Vigo (1936–), and the subject of this exhibition, Marinella Pirelli (1925–2009), the unique positions of these figures within the defined trajectory of art movements remain precarious. Redressing the neglect of women’s contributions to Italian art opens a view onto the complexity of cultural life on the Apennine Peninsula, particularly during the postwar era, when the Communist Party was larger than in any other Western democracy, yet the Fascist family code, circumscribing women’s participation in public life, was still in place. An alternative reading of the forces at play in the 1960s and violent ’70s thus also offers a place to start unraveling the accepted terms of patriarchal mastery.

Luce movimento. Il cinema sperimentale di Marinella

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the November 2019 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.