Italo Zuffi

Imola (BO), 1969. Lives in Milan

As well as exploring the expressive nature of sculpture, Zuffi’s research involves performances that are often designed to stimulate criticism of the principles that regulate the lives of those in the art establishment. The artist’s works along this second line record periods of crisis in a friendship between colleagues, or the collapse of his expectations relating to his career, highlighting structural flaws in the Italian art industry and bugs in the process of artwork communication and publicity. In some performances, an actor recites a narrative text in front of a very limited audience, while also displaying “evidence” relating to the content of the narrative. In others, groups of performers choreograph paradoxical actions, shouting out exclamations of incitement. Midway between storytelling and body art, Zuffi’s works always evoke the “performance”—often tragic—demanded of the artist by society.

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