Benedetta Panisson (1980, Venice) works with film photography, video installation, drawings, and live performance. Her research focuses on extended relations among body, territory, community, and their margins; it is rooted also in her BA in History of Arts at Ca' Foscari University, Venice, and MA in New Technology for the Art at Brera Academy, Milan.

Among her participations and academic collaborations: Onassis Cultural Centre (Athens), Royal College of Art (London), TEA, Museum of Contemporary Art of Tenerife (Canary Islands, Spain), Bevilacqua la Masa Foundation (Venice), International Prize for Performance (Marina Abramovic/Centrale di Fies), Der Greif, Frieze Art/Paul Smith (London), Galleria Riccardo Crespi (Milan), UNESCO/COAL Prix (Paris), Galleria Civica di Arte Contemporanea di Trento, Centre International des Récollets, Furla Art Award, Project Space Berlin, Contingent Movements Archive, Milano-Bicocca University, Centro Pecci, International Sarajevo Winter Festival, Istituto Veneto di Lettere, Scienze ed Arti (Venice), Ca' Foscari University/European Centre for Living Technology, La Guarimba Film Festival (Italy), Fotofilmic (Canada), Care of (Milano), Phroom.


The sea wave is a synthesis between the horizontal push of the wind on the water, which raise from the surface, and the force of gravity that, after the wave passed its highest point, brings it back to the initial one. Benedetta Panisson artistic production has a likewise cyclical dynamic. In the spiritual exercises of The Miracle Worker, the body is the transparent and obscure matter where opposing and simultaneous forces and intentions, going around in circles, interferes each other’s: dysfunctional programmed gestures, on the edge of their decay, re-fall in themselves, bloom in an performative mandala whose buds-actions open, endlessly, to an unaccomplishable vision. In Rotation F to M, Black, and White, where take place the inversion between artist and spectator, feminine and masculine, the artwork pull out by itself: the artist only bring about a counter-observative action, by forcing the exhibition act into an active observation of those in front of her, who penetrates her world, take her place, becomes her project, its object, in a mutual yield, up to the erotic surrender. In Come to Venice, the artist's city, born on the water, slowly dissolving in its-own simulacrum, is described by a cry of alarm and love – between portrait and documentary, sound and hiding, silence and voices of anonymous glimpses and citizens: the fragility of its social relations' system mirrors and find its conflictual nemesis in the overwhelming liquid body of the lagoon, the pushing on the city of the sea which, always, has protected her and has been part of her. From the human and marine body, and from their symbolic or perceptive landscapes, People do Water and Excess Island emerged: two photographic collections – based on the collective subjects and on landscapes – result of the overlapping of new production and archive, whose foaming narrative tissue involve the observer in an erotic interpretative game, unfolding from the image its underlying sexual shapes and continuously returning on it, covering it again, like a wave on the shore. Benedetta Panisson moves in this flow, in the tide of meanings from which the work is allowed to cross, which touches everything and withdraws from everything. Her work follows the deep, dark, transparent, active and passive force of what we are and of what we feel part of us, unveils the attractive drives and the abandonment drifts in which we are submerged every day.

text by A. Nutolo