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The Queen, the Rose and the Farmworker,
A Tale on Free Climbing Society

 
Luana Perilli in conversation with Sumugan Sivanesan
 

27 June 2015


 

 

ABOUT LUANA PERILLI

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Luana Perilli (b.1981, Roma) graduated from the Accademia di Belle Arti di Roma in 2010, where she currently lives and works in Rome. She was awarded with several residency grants: Pan Studios Program, Pan Museum, Napoli (supervised by Daniel Buren) in 2010; Art Omi, New York, grant by Dena Foundation in 2008 and Cité Internationale des Arts, grant by Incontri Internazionali D’Arte, Paris, in 2008 and 2004. Recent shows include: ‘Q.I vedo’, Napoli (), ‘Solitary shelters’ at The Gallery Apart, Roma, IT; ‘All for one’ at Medium Galerie, Bratislava, SK; ‘Roommates-Coinquilini Luana Perilli /Carola Bonfili’, MACRO, Roma, IT. Perilli has contributed to numerous group shows, including the 2014-15 Kochi Muziris Biennale in MOG Goa Museum, India; Internaturalità in PAV, Torino; Patria Interiore-interior homeland Golden thread Gallery, Project Space, Belfast; ITALIENISCHE KUNST HEUTE, Stadtgalerie, Kiel; Museum Biedermann, Donaueschingen; RE-generation, MACRO, Roma; Omaggio a Graziella Lonardi Buontempo , PAN, Napoli; An intimate story – Cotroneo Collection, MAMM Multimedia Art Museumof Moscow, Moscow.Perilli is currently professor of Multimedia Installation at Accademia di Belle Arti di Roma and professor of Art Sudio and Drawing at Cornell University in Rome.

Learn more about Luana Perilli’s Terna Prize Artist Residency at MOMENTUM >>

ABOUT SMUGAN SIVANESAN

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Sumugan Sivanesan is a self-described ‘anti-disciplinary’ artist and a transcultural radical. His eclectic practice is concerned with the legacies of colonialism, the experience of cultural difference, and diaspora. Sivanesan often engages with the theory of ‘necropolitics’ coined by the Cameroonian philosopher and political scientist Achille Mbembe. Building upon and going beyond the Foucauldian notion of biopower, the domain of life over which power has taken control, ‘necropolitics’ asserts that contemporary forms of subjugation of life to the power of death has reconfigured the relationships between resistance, sacrifice, and terror.