Chiara Fumai

Rome, 1978. Lives in Milan

Fumai’s work tackles certain aspects of culture and society, drawing inspiration from media mystification. Since the very start of her career, the artist has chosen to use representation from an unusual viewpoint, which is not the neutral viewpoint of the observer or the moral account given by the victim. She stages the stereotypes investigated by her work in the first person, creating a complex performance strategy whose completion relies on the ingenuous reaction of the spectator. Her works begin life as lecture-performances, often developing over time to become installations. The artist likes to use anti-spectacular methods, breaking down the rules that govern the relationship of power between public and image in favor of the latter. Fumai creates cognitive artworks, while also using irony and cynicism to discuss the value of the literal reduction of the performative experience through so-called “documentation,” transforming the object into a subject, the end result into a contest.

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