Marinella Senatore is an audiovisual lecturer at the Universidad Complutense in Madrid and the University of Castilla-La Mancha. Since 1990 she has worked as director of photography for film and since 2003 she has worked entirely on art and teaching.
She is interested in collective memory, narrative and film language applied to other media. Her latest audiovisual productions, made within the framework of her teaching activity, involved entire communities in the creative and production processes, such as in the film Horizonte de sucesos, made with students at the University of Castilla-La Mancha and produced by over 1900 Cuenca residents.
In 2009 she was awarded a residency from the Dena Foundation for Contemporary Art in Paris at the Art Omi International Artists Residency in New York.
Cava dei Tirreni, Italia. 1977.
Vive y trabaja en/Lives and works in: Madrid.
Formación Académica/Education 2014-2008
Doctorado Nuevas tendencias artísticas/Dhp, Universidad de Castilla-La Mancha.
Licenciada en Bellas Artes/Bachelor of Fine Arts, Facultad de Bellas Artes, Universidad de Castilla-La Mancha.
Diploma, Curso Superior de Artes Visuales, Fondazione Antonio Ratti, Como, Italia.
Diploma, Scuola Nazionale di Cinema, Roma.
Licenciatura en Bellas Artes/Degree Fine Art School, Accademia di Belle Arti, Napoli.
Diploma grado inf., Conservatorio di Musica D. Cimarosa, Avellino, Italia.
Exposiciones Individuales/Solo Exhibitions
Marinella Senatore, Mot International, London, UK (upcoming)
Construir comunidades, Mendes Wood, Sao Paolo, BR (upcoming)
Public secrets, Kunsthalle, Sant Gallen, CH (upcoming)
Marinella Senatore. Building Communities, Contemporary Arts Forum, Santa Barbara, CA (upcoming)
MAXXI Award, Maxxi Museu, Rome, IT (upcoming)
Marinella Senatore. Costruire comunità/Building Communities, Castello di Rivoli, IT
Piccolo Caos, Musei Civici, Cagliari, IT
Gotham Prize, Italian Institute, New York, US
Rosas, Part One-Part Two, Peres Projects, Berlin, D
The Attic, Quad, Derby, UK
Abierto por obras: Rosas, Matadero, Madrid, ES
Perfect lives, Kunstlerhaus Bethanien, Berlin, D
Marinella Senatore, Galleria Umberto di Marino Arte Contemporanea, Napoli.
Marinella Senatore, MAR Museo d’Arte della città di Ravenna, MAR, Ravenna, Italia.
Manuale Per I Viaggiatori, Museo d’Arte Contemporanea Donna Regina, M.A.D.RE, Napoli.
Marinella Senatore, Fundación Antonio Pérez, Cuenca.
16° CENTIGRADES, Galleria Monitor, Roma.
All The Things I Need, Fondazione Adriano Olivetti, Roma.
Castilia, Galleria Monitor, Roma.
Marinella Senatore, Galleria T293, Napoli.
Exposiciones Colectivas/Group Exhibitions
Italics, Museum of Contemporary Art, MAC, Chicago.
The Rocky Mountain People Show, Galleria Civica di Arte Contemporanea, Trento.
Calypso, Sala Rekalde, Bilbao.
Worlds In Video, Centro di Cultura Contemporanea Strozzina, CCCS, Palazzo Strozzi, Firenze.
Guestroom, Museum Boymans van Beiningen, Rotterdam.
VESUVIUS, Moderna Museet, Stockolm.
Art Radio Live, P.S.1 Contemporary Art Center. MoMA, Long Island, New York; Palazzo delle Arti Napoli, PAN, Napoli.
Neverending Cinema, Galleria Civica di Arte Contemporanea, Trento.
The Clouded Eye, Society for Contemporary Photography, Kansas.
Modern Times v.1, Museum d’Arte Provincia di Nuoro, MAN, Nuoro, Cerdeña.
Actividades académicas/ Academic Related Activities
PAV, Turin, IT “Invisibilia”, University of Turin, IT Fine Art Academy, Turin, Italia.
Visiting professor, NYU, Berlin.
“Show me your architecture #18”, Kunstlerhaus Bethanien, Berlin.
Associate professor at the University of Castilla-La Mancha, Spain.
Research fellow IDECA Project, UCM.
Associate professor at the University Complutense of Madrid.
PhD candidate (2008-2013), University of Castilla-La Mancha.
“Filming the process”, Fondazione E.Casoli, DOCVA, Milan, Italia.
“Marinella Senatore”, MAXXI Museum, Rome, Italia.
Programas de vídeo/Film Festivals and screenings
Para/Site, Hong Kong, CP
Istanbul Modern, Istanbul, Turquía.
Ballroom Marfa, Texas, US
Belgrade Cultural Centre, Belgrade, Serbia.
Centre for Contemporary Arts Afghanistan CCAA, Kabul, Afganistán.
Quad, Derby, UK.
La Casa Encendida, Madrid.
98 Weeks Project, Beirut, Líbano.
Rencontres Internationales Paris/Berlin/Madrid, Espace Consultation Documentaire, Paris
Camera Con Vista, Italian Institute, Belgrade.
Videoreview, Italian Institute, New York.
Camera Con Vista, Palazzo delle Arti Napoli, PAN, Napoli.
BURN!, Molisecinema Filmfestival
43° Mostra Internazionale del nuovo cinema, Pesaro, Italia.
Carte Bianche, Elizabeth Dee Gallery, New York.
VIDEOZONE 2, The British School, Roma.
20. Kasseler Dokumentarfilm und Videofest, Kassel, Deutschland.
58 Mostra d'Arte Cinematografica di Venezia, Venezia.
Becas y Premios/Awards and Grants
Dena Foundation for Contemporary Art, Paris.
Beca de residencia/Residence Grant, Omi International Arts Center, New York.
Emerging Talents, Centro di Cultura Contemporanea Strozzina, CCCS, Palazzo Strozzi, Firenze.
Pagine Bianche d’autore/SEAT. Mención de honor/Honourable Mention.
Caja Castilla-La Mancha/Universidad de Castilla-La Mancha. 1er Premio/1st Award.
Pagine Bianche d’autore/SEAT. Mención de honor/Honourable Mention.
Universidad de Castilla-La Mancha /Fundación Antonio Pérez, Cuenca. 1er Premio/1st Award.
Obra en Museos y Colecciones/Works in Museums and Collections
Omi International Arts Center, New York.
Museo d’Arte Contemporanea Donna Regina, M.A.D.RE, Napoli.
Fundación Antonio Pérez, Cuenca.
S.Herzog, Marinella Senatore im Castello di Rivoli:Dabei sein oder nicht dabei sein, «Neue Bücher Zeitung»,10/17/2013
S.Heidenreich, Rosas, Peres Project, Berlin, 2012.
A.F.Honigman, Interview with Marinella Senatore, «Artslant», 2012.
V.Kallinikou, Von geteilter Arbeit und geteiltem Glück, «Art in Berlin», 2012.
AA.VV., ILLUMInations, Ed. Marsilio, Venezia, 2011, Cat. Exp.
A.Cramerotti, E.Pethick, Tracing Circles.Enabling artistic praxis through participation (not the other way around) in «Premio Furla», Ed.Mousse Publishing, Milan, 2011, Cat. Exp.
S.Blas, How do u kill the chemist, in «Sonrisas y Lagrimas», Ed. Centro Torrente Ballestrer, 2010, A Coruña, Cat. Exp.
G.Del Vecchio, Tagli di luce ed esperienza collettiva, «Flash Art»,n.283, 2010, May-June, pp.60-61-62-63
S. Blas - F. Boenzi, Videomix, historias cuentos y amnesias, Ed. Casa Encendida, Madrid, 2009, Cat. Exp.
Gianni, Ilaria, “Marinella Senatore”, Flash Art, Milano, n.268, 2008, p. 134.
G. Del Vecchio, “Ongoing Worskshop”, Work, Trento, n.23, 2008, pp. 64-67.
Bonacossa, Ilaria; Canziani Cecilia; Navarrete, Ana; Carrasco, Javier; Pignatti, Lorenza, Marinella Senatore, Cuenca, Fundación Antonio Pérez/Diputación de Cuenca, 2007, Cat. Exp.
Perrella, Cristiana, VideoZone 2/, Tel-Aviv, Ed. Center for Contemporary Art, 2007, Cat. Exp.
Canziani, Cecilia, “Overture”, Flash Art, n.262, Milano, 2007, p. 102.
Senatore, Marinella, “Self-Portrait”, Tema Celeste, nº.124, Milano, 2007, pp. 80-81.
Ramos, Filipa, “Manuale per i viaggiatori”, Arte e Critica, Roma, n.53, 2007, pp. 88-89.
Pinto, Roberto; Daneri, Ana, Corso superiore d'arte visiva L'estetica della resistenza, Roma, Ed. Nero, 2005, Cat. Exp.
Gianni, Ilaria; Ventrella, Francesco; Benedetti, Lorenzo, Step in step out-All the things I need, Roma, Ed. Nero, 2005, Cat. Exp.
AAVV, Quadriennale d'arte/Anteprima Napoli Roma, Ed. De Luca, 2005, Cat. Exp.
Altavilla, Marco; Lotta, Daniela, Collaudi, Bologna, Ed. Pendragon, 2003, Cat. Exp.
1. What made you choose art as a profession?
I don’t think it was a conscious choice; it was more of a natural process.
2. How would you define your work?
I’m very interested in the lines between different disciplines. I move between professional filmmaking, contemporary art, academic life, music… and this mixture is a key part of my work.
3. What subjects are you interested in?
Collective memory, the processes getting the public involved in a work of art, film language applied to other media, the different forms of narration, time and its modifications.
The shoot for the musical film Speak Easy, made with 100 students at the Universidad Complutense, was made possible thanks to 1200 producers who each donated €1 (their names appear in the credits).
4. What resources – formal or otherwise – do you use in your work?
I’m very interested in exploring the different forms of narration and the factors in film language that can be used to produce the result we want. I’m also interested in collective memory and (I see all these factors as closely interconnected) I think some practices form part of the collective imagination and can help to strengthen the mechanisms for getting the general public involved not only in the final phase of the vision, but also in the creative process.
5. What relationship does your work have with reality? What are your raw materials?
All processes that see the role of the public as a major constituent part will be subject to close examination by society at different levels. Chronicles of everyday life, micro-history rather than major events, modifications of collective memory, and the way the ‘narrative’ can change facts open up a whole series of narrative possibilities that I like to give some signs of every now and again, where it’s possible to recognise something at collective level. In my latest video, How do u kill the chemist, made this summer in New York during my residency at the Art Omi International Art Center, I worked with a group of rappers from Harlem, who not only told the story of the docu-fiction we made, but were also the true authors of the text. Even the title was chosen by the producer public.
For the feature film Horizonte de sucesos, made in 2007 by students at the Fine Art School at the University of Castilla-La Mancha in Cuenca, the entire city took part at different levels to make the shoot possible. Not only by donating €1, but also by sewing the students’ clothes, making food for the actors, and doing their hair and make-up in the morning before each shoot.
6. What, according to you, is the point of art?
I’ve asked myself that question many times since I started teaching. Teaching forces you to face up to many questions. The way I approach it is to offer the greatest possible amount of experience and elements so people can think for themselves.
Maybe the point of art is to change the world, to express yourself, create ties and question things – that’s key and I see huge risks when that can’t be done.
I’ve loved many works of art. They’ve taught me things in such a powerful and direct way that no other medium has ever managed to. It’s about feeling something, vibrating with things… It’s worth the effort.
7. How do you hope the public will receive your work? What audience are you aiming at?
The public and mechanisms of vision are key to my research, so I obviously aim at as wide an audience as possible. I love the idea of being able to interest the public in general, regardless of education or interests, like in the way that film does.
I think it’s important to consider how to do it. You don’t always manage it, but I find making art without bearing the audience in mind somewhat sterile.
8. What qualifications have you got? What do you value most from your time in education?
I graduated in fine art in Naples and studied at film school in Rome. I took another degree in fine art in Spain, studied at a music school and now I’m studying for a doctorate.
I also think teaching is important, along with artist residencies, courses with industry professionals, like the one in 2005 at the Ratti Foundation in Como, Italy, where I met Alfredo Jaar, and the residency at the Art Omi International Art Center in New York. It’s great whenever I can work, live and be with other people. This is the most important and most exciting thing about education for me.
9. How would you define your current professional situation? And in the future?
I combine teaching – which is key to my work – with my research activity. I work with museums and private galleries in Italy and abroad and hope to do so here in Spain as well and have the chance to try out things in this context. At the moment the public projects carried out here have been very important for me.
10. Many artists say it’s difficult to make a living from their work; how do economic considerations affect you when it comes to work? Do you think this has a bearing on your work?
Obviously there are some projects that aren’t going to see the light of day without the money for production, but it’s also true that my work, even video productions involving the public and lots of people, have fairly restrained costs, so I’ve never not been able to see a project through due to lack of money.
11. What do you look for or expect from your relationship with promoters and curators? What advantages and difficulties have you found with these relationships?
Dealing with promoters and curators has always been a key moment of growth for me; above and beyond the commercial side, it’s the questioning of my work that I find useful. I don’t know how to think without doubting myself, with wanting to grow.
12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I think it’s important to have a certain internationality and be connected to what’s happening out there and above all communicate what’s going on here, and the lack of this is often a general problem.
On the other hand, there’s a fair amount of grants, support and contests available to artists here.
It’s also important to activate residency programmes. They work really well in other countries and offer the chance for artists to exchange information as they come and go.