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Alice Visentin (b. Turin, Italy) is a painter who currently works in Turin. In her practice, she works across paintings, drawings, projections, and moving images. She grounds herself in an understanding of reality as a mutable dimension, constantly transformed by the interactions between bodies and words, dreams, and murmurs. Through her work, she explores the generative capacity of the imagination and the possibility of accessing other levels of sensing and experiencing according to an intuitive understanding of things, which appears possible only thanks to encounters with others. Her research explores the uncovering of cultural and political processes present within our bodies, rethinking the ethical basis of existence in the world and emphasizing the forms of interconnection that bind all people on planet earth. In her creative process, she finds herself in this game of recomposition, where she turns images into stories and stories into images. Figures, words, and colors become tools to transform the meanings of things, weaving together temporalities and experiences and thus giving shape to reality. Her inspirations come from various sources, including spoken and written words, the wisdom of ancient and contemporary literature, and the oral archives. Playing with language as a tool for the imagination, she explores the myriad shades of knowledge, embracing intuitive and genealogical processes.
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ALICE VISENTIN (b.1993, Turin, Italy) graduated from Accademia Albertina di Belle Arti, Turin. Recent solo-shows include The morning tide of moods, Lateral Roma, Rome, Italy (2023); Malefate, Almanac Project, Turin, Italy (2021); Planète, IIC of Paris, France (2021); Prima Persona Singolare, Tile Project Space, Milan, Italy (2017). Recent group shows include: Cosmos. The Vulcano Lover, Villa Olmo, Italy (2023); Sensing Painting, Castello di Rivoli Museo d’Arte Contemporanea, Turin, Italy (2023); Pittura Italiana, Triennale Milano, Milan, Italy (2023); Diario notturno, MAXXI L’Aquila, Italy (upcoming); ESPRESSIONI CON FRAZIONI, curated by Carolyn Christov-Bakargiev, Marcella Beccaria, Marianna Vecellio, Castello di Rivoli, Italy (2022); ; LXII Premio Termoli, Museo MACTE, Termoli, Italy (2021); Artagon, Cité international des arts, Paris, France (2018). Visentin was awarded a Visual Arts fellowship at the American Academy in Rome for the year 2023.  
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visentinalicemartina@gmail.com

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Gasworks, London, UK. Supported by Fondazione Memmo  
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Upcoming show 2024:
May, 10th Sundy, London, UK

 

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About fantasy
“When I started working as an artist, I chose to work on canvas to have “un piccolo mondo intero” a small whole world that I could consider mine. I was looking for a space that could contain my rules, like the bedroom full of toys when I was a child.
I started feeling attracted to colour and indescribeable feelings and emotions. I liked representing suspended atmospheres. The error of drawing and painting was a way of making the expansion of reality that I desired felt.
As a child, I was an only child and I lived in the middle of the wood with my family, in the north of Italy. The need to play led me to live unexpected experiences.
I invented worlds in the woods, then I would come back home and open the closet of colors
and stick the things I collected, mixing them with scrap papers (next to the fireplace?)
That’s how I played.
In such a hard time for many people in this world I feel infinite gratitude for having had the opportunity to spend three months here at Gasworks and to have been able to feel as free as in the woods when I was a child.
I came to London with an intention, a project that I carried with me and inside of me. I imagined I wanted to collect words, sounds, symbols and memories from the voices of people who make poetry at night, in an amateur way and with love.
For a long time I have been attracted to small stories, whispered voices and all those imaginaries that are uncensored and free – that can come from our mouths. I am attracted to the possibility that vocality gives us, a tool that allows us to get to know each other, to exchange ideas and to pass on stories. I am also studying the linguistic act of “gossip,” which Silvia Federici, in a footnote in her book Caliban and the Witch, reminds us means “friend.” I love the space that separates one person’s mouth from the other’s ear.
I understood what it means to be devoted to existence, to the archaeologies that pre-exist before my existence. I understood that I am the last part of a chain that binds me to the history of the world, and the idea of being able to collect imaginaries from different contexts allows me to expand the language of reality.
During my residency I studied more closely the fascinating world of magic lanterns and how women throughout history constructed portable backpacks to
bring magic and mystery to villages, among children and people.
I learned from Barbara Kruger’s exhibition at the Serpentine the power of combining text with audio clips, found images and symbols.
I love that.
During these months in London, I visited archives, met hundreds of people from whom I let myself be contaminated, and now I feel I have a new special human community around me. In London I learned from a newspaper seller the power of ingenuity and from a Uber driver the excitement of belief in the unbelievable.
I experienced the city trying to collect its stratifications: I walked following the course of the river. With my beloved Nadia, Kathy, Odur and Rosa we all saw the sea, walked on the beach together, saw the Eastborne pier under the fog, and ate delicious ice creams. My feet and my mind found confidence in the map of the city, and all this became a resource that I decided to bring into my Gasworks studio.
On the saddest days, I started photographing the blossoms of cherry and magnolia trees that showed me the power of life. 
I met a pirate (un pirata di fiume) who lives on a blue boat in the Hackney canal who told me the story of the river’s dolphins. I met a philosopher who told me I would find everything in London: all I needed to know was what I was looking for.
And last but not least, London made me become a writer of poems.
I discovered that archivists are among the kindest people in the world, and through them, I felt close to many past existences, read poems, touched colored papers, and traced ancient images.
With these ancient images, I decided to project them and associate them with drawings, shapes, and notes to create new languages using the the power of association. 
At the end of this text, I can say that it is the idea of embodying an affirmative fantasy that Gasworks has made me discover the most. I think it is a very precious tool to study the reality. I feel it is a great tool that I have no idea where it will take me, but which I want to use in all contexts of my future life.”
Spring Open Studios
16 MAR 24, Gasworks, London