Main exhibits and events

2022

Solo exhibition: “S1 – Frohnau”

9 March – 2 April 2022

Vernissage 8 March from 18.30

Micamera Bookstore

via Medardo Rosso 19, 20159 Milan.

“A marzo Micamera ospita la prima mostra di sola pittura. L’artista è Lupe Ficara, pittrice italiana che da due anni vive a Berlino. Il titolo della mostra è ‘S1 – Frohnau’ dal nome della linea metropolitana che Ficara prende tutti i giorni per andare al lavoro. Si tratta di una selezione di olii o acrilici su carta da riciclo di magazzino, fogli A4 inizialmente nati come studi per una produzione serigrafica (nel 1981, Francesca Woodman usò un quaderno di geometria per il suo ‘Some Disordered Interior Geometries‘).

Mentre le sue opere dialogano sui nostri muri, noi rispondiamo con una selezioni di libri.”

Giulia Zorzi , Micamera

2019

Solo exhibition: “Mettersi a nudo”

Cascina Nuovo Armenia Cultural Association.

Via Livigno 9, 20158, Milan, Italy

2009

Guest of Honour :

Annual Exhibition of Art and Art Crafts Polyvalent Hall Trebas´Town Hall – France presented by Artevas Association

Solo Exhibition: “Dai colori alla gente”

Division Départementale du Ministére de la Jeunesse et des Sports des Alpes-Maritimes

Bureau 3000, St Laurent du Var 06706. (France)

Collective Exhibition: “Alt! Il corpo é mio”

curators: Donatella Airoldi and Mavi Ferrando

Galerie Quintocortile, via Col di Lana 9 – 20121 Milan IT

2007

83830 Bargemon (France)

Collective Exhibition: ” Seconda Fira d´Art”

Association Desat’Art – Plaça Icaria – Figueres (ES)

Desat´Art on Facebook

Collective Exhibition: “109 Atelier Fourth Anniversary”

Atelier 109, 39-41 rue Leon Noel 06400 Cannes (France)

Solo Exhibition

Les Jacasses, brasserie.

5 Rue des Ecouffes, 75004 Paris, France

Collective Exhibition and Performance

Cineffable – 19th Paris International Lesbian and Feminist Film Festival – Trianon Paris

Le projet se nomme : Le Tribunal des phrases performatives. Cette installation est constituée d’une installation visuelle apte à rendre la sensation d’« être regardées », [….] L’intention de cette performance est évidemment celle de représenter l’influence plus ou moins violente et invasive des phrases, des commentaires des expressions et des regards qui forment, deviennent, changent, le sens et la perception du genre dans le quotidien de tout le monde. La présence des autres, le regard des autres modifient notre aperçu, celui de nous même à partir de la plus petite enfance et déterminent activement notre façon d’être, en public ou en privé. Notre image de soi, nos besoins, nos envies et nos capacités d’exprimer l’invitation à répéter certaines phrases, lieux communs, insultes ou compliments standards, sont une façon de démasquer cette action des autres sur nous, et l’officialisation « paradoxale » par le biais du « tribunal » et offre l’occasion de démanteler la mécanique et la force de cette action. La répétition scandée de certaines phrases […] nous permet une réappropriation claire de cette sorte d’espace virtuel qui est : le jugement, […] à l’intérieur duquel on est en relation et auquel on est obligé , en quelque sorte, de construire l’image de nous et de notre genre.  Performer des phrases qui nous décrivent signifie : agir sur la réalité avec autant de force que puisse le faire l’ « autre ». 

The project is called: The Tribunal of Performing Sentences. This installation consists of a visual installation capable of rendering the feeling of “being looked at”, [….] The intention of this performance is obviously to represent the more or less violent and invasive influence of sentences, comments and expressions that form, become and change the meaning and perception of gender in the everyday life of everyone. The presence of others, the gaze of others modify our perception of ourselves from the very early childhood and actively determine our way of being, in public or in private. Our self-image, our needs, our desires and our capacities to express the invitation to repeat certain sentences, commonplaces, insults or standard compliments, are a way to unmask this action of others on us, and the officialization “paradoxical ” through this “ court ” offers the opportunity to dismantle the mechanics and force of this action. The punctuated repetition of certain sentences […] allows us a clear reappropriation of this sort of virtual space which is: judgment, within which […] we are in relation and starting from which we are obliged, somehow, to build the image of us and our gender. Performing sentences that describe ourselves means: acting on reality with as much force as the “other” can do.
Press Review Cineffable