{"id":3997,"date":"2026-09-02T09:00:56","date_gmt":"2026-09-02T09:00:56","guid":{"rendered":"https:\/\/societadelleapi.landingspace.cloud\/?post_type=programmes&p=3997"},"modified":"2026-10-05T09:51:20","modified_gmt":"2026-10-05T09:51:20","slug":"i-fiori-del-male-chiara-camonis-solo-show","status":"publish","type":"programmes","link":"https:\/\/societadelleapi.landingspace.cloud\/en\/programmes\/i-fiori-del-male-chiara-camonis-solo-show\/","title":{"rendered":"Chiara Camoni, ‘I fiori del male’"},"content":{"rendered":"","protected":false},"author":5,"template":"","meta":{"_acf_changed":false,"inline_featured_image":false},"class_list":["post-3997","programmes","type-programmes","status-publish","hentry"],"acf":{"single-programmes-project-project-title":"Chiara Camoni, 'I fiori del male'","single-programmes-project-title":"Chiara Camoni, 'I fiori del male'","single-programmes-guest-project":["no"],"single-programmes-type":22,"single-programmes-artist":"Chiara Camoni","single-programmes-city":"Rome","single-programmes-start":"20261010","single-programmes-end":"20270126","single-programmes-display-day":"yes","single-programmes-thumbnail-image":4001,"single-programmes-main-image":4012,"single-programmes-caption":"Chiara Camoni, La Cenere di Montelupo #9, 2017. Detail","single-programmes-content":[{"acf_fc_layout":"single-programmes-content-text-layout","single-art-support-content-text":"

with Fantine Andr\u00e8s, Maria Loboda, Marianne Mari\u0107, Vibeke Mascini, Lionel Sabatt\u00e9, Adrianna Wallis <\/strong>and Yuyan Wang.<\/strong><\/span><\/h2>\r\nFor its second exhibition since the opening of its Roman space, La Societ\u00e0 delle Api presents <\/span>I fiori del male<\/span><\/i>, a project dedicated to the work of Chiara Camoni and curated by Alice Motard. The exhibition takes as its starting point a collection assembled over the years by Silvia Fiorucci, who has followed the artist\u2019s work since her beginnings.<\/span>\u00a0<\/span>\r\n\r\nThe flower is ubiquitous in Camoni\u2019s work, where it appears both as a motif and as a material. But what happens when we stop seeing it as the consensual symbol of life, delicacy and beauty? <\/span>I fiori del male<\/span><\/i> reveals another side \u2013 chthonic, encrypted, destructive, artificial, spiritual.<\/span>\u00a0<\/span>\r\n\r\nThe exhibition does not seek to deny the fundamentally positive dimension of Camoni\u2019s work, which is grounded in respect for nature, handmade processes and collective making, but rather to complicate it. It brings to light its darker side, the shadowy zones and spaces beyond the frame. For \u201cbeauty is always bizarre\u201d, in the words of Charles Baudelaire, whose 1857 collection of poems lends its title to the exhibition; it is traversed by the sordid, by desire and violence, and by all that is usually repressed, concealed or kept at bay.<\/span>\u00a0<\/span>\r\n\r\nThe exhibition opens with two pencil drawings of lilies, flowers known for their toxic properties, from a larger series made by the artist during the Covid-19 pandemic. Every day during the first lockdown, Camoni would send an image of one of her sketches to a circle of friends, including Silvia Fiorucci. From one sheet to the next, the flower metamorphoses. Lascivious bodies, sexual organs, animals, faces and other mimetic signs: the vegetal forms become almost hallucinatory, like the figures we see in clouds \u2013 a recurring motif in the work of the French poet.<\/span>\u00a0<\/span>\r\n\r\nThese carnal forms echo the \u201csickly\u201d flowers of his book, which caused a scandal in its time. Each room explores a different facet of this subversive power: the flower as poison, as language, as jewel, as threat, or as apparition. The poet\u2019s verses punctuate the exhibition, inflecting the way it is read.<\/span>\r\n\r\nReflecting the artist\u2019s habit of welcoming other voices into her practice, the exhibition brings together works by Fantine Andr\u00e8s, Maria Loboda, Marianne Mari\u0107, Vibeke Mascini, Lionel Sabatt\u00e9, Adrianna Wallis <\/strong>and Yuyan Wang.<\/strong> Acting as \u201ccounterpoints\u201d, they extend and sharpen the reflections initiated by Camoni\u2019s own pieces.<\/span>\u00a0<\/span>\r\n\r\nAll these works, gathered within the setting of the palazzo at 40 Via Gregoriana, enter into dialogue with the Renaissance grotesques adorning its vaulted compartments, the coffered ceilings of its rooms, the marquetry of its parquet floors, and the marble found throughout the building. Between the vegetal, the animal and the architectural, <\/span>I fiori del male<\/span><\/i> thus proposes a non-Manichean, troubled and ambiguous reading of Chiara Camoni\u2019s work.<\/span>\u00a0<\/span>\r\n\r\n-Alice Motard\r\n

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PUBLIC PROGRAM:<\/strong><\/h3>\r\nOn the occasion of I fiori del male, the Public Program will unfold across three events that, through different approaches, expand the themes of the exhibition, bringing together artistic practices, research, materiality, and forms of collective imagination.\r\n
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\r\n\r\n20 November \u2014 Blooming Voices: Can You Speak Flower?<\/i><\/b>\r\n\r\nA lecture by Alexandra Midal<\/b> exploring the relationship between femininity, floral representation, and unconventional forms of communication. The lecture will draw on floriography<\/i>, the symbolic system that transformed flowers, bouquets, and ornaments into a code through which to express feelings and meanings indirectly.\r\n\r\n<\/div>\r\n
\r\n\r\n11 December \u2014 Materia Sogno\r\n<\/i><\/b>\r\nThe seminar, initiated in Venice during the Biennale, takes the form of an open space for collective exchange, where stories, readings, actions, objects, and different practices contribute to an evolving reflection, conceived as a collage of contributions released at a slow pace.\r\n\r\n<\/div>\r\n
\r\n\r\n26 January \u2014 Round and Round\r\n<\/i><\/b>\r\nA conversation between Chiara Camoni<\/b> and Alice Motard<\/b>, followed by a discussion with the public and the activation of CircoTornio<\/i>. The meeting will retrace the genesis and development of I fiori del male<\/i> and the collaboration between artist and curator, followed by the presentation of the catalogue published by NERO.\r\n\r\n<\/div>\r\n<\/div>\r\n \r\n

BIOGRAPHICAL NOTES:<\/strong><\/h3>\r\n[caption id=\"attachment_4045\" align=\"alignleft\" width=\"217\"]\"\" Portrait of Chiara Camoni, \u00a9Camilla Maria Santini[\/caption]\r\n\r\nChiara Camoni<\/strong> (Piacenza, 1974) lives and works in the Apuan Alps in Tuscany. She works across drawing, botanical printing, video and, above all, sculpture, with a particular focus on ceramics. Her work often emerges through collaborative processes and practices of shared authorship, which in recent years have taken shape through Il Centro di Sperimentazione.<\/em> In 2026, Camoni represents Italy at the Italian Pavilion of the 61st International Art Exhibition \u2013 La Biennale di Venezia with the project Con te con tutto<\/em>, curated by Cecilia Canziani. Her work has been presented at major Italian and international institutions, including Pirelli HangarBicocca, Milan; CAPC Mus\u00e9e d\u2019art contemporain de Bordeaux; MIMA \u2013 Middlesbrough Institute of Modern Art; Museo Patio Herreriano, Valladolid; GAM, Turin; Palazzo Collicola, Spoleto, and many others.\r\n
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\r\n\r\n[caption id=\"attachment_4042\" align=\"alignleft\" width=\"227\"]\"\" Portrait of Alice Motard, @Christophe Urbain[\/caption]\r\n\r\nAlice Motard<\/strong> is a curator and art writer. Since 2025, she has been a member of the committee supporting publishing and research in art theory and criticism at the Centre national des arts plastiques (Cnap). Over the past twenty years, she has held curatorial and institutional positions in the UK and France, successively serving as Deputy Director and Exhibitions Organiser at Raven Row, London (2008\u20132013), Curator at Spike Island, Bristol (2014\u20132016), Chief Curator at CAPC Mus\u00e9e d\u2019art contemporain de Bordeaux (2016\u20132021), and Director of CEAAC, a contemporary art centre in Strasbourg (2021\u20132026).\u00a0 She holds a Master\u2019s degree in Curating Contemporary Art from the Royal College of Art, London, and a Master\u2019s degree in Art History from Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne and Freie Universit\u00e4t Berlin.\r\n
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\r\n\r\n[caption id=\"attachment_4039\" align=\"alignleft\" width=\"230\"]\"\" Portrait of Fantine Andr\u00e8s, \u00a9Fantine Andr\u00e8s[\/caption]\r\n\r\nFantine Andr\u00e8s<\/strong> (b. 1983, lives and works in Strasbourg) graduated with a DNSEP from the \u00c9cole sup\u00e9rieure d\u2019art et design de Saint-\u00c9tienne (ESADSE) in 2009. Her practice is rooted in graphite drawing, which she expands into installations incorporating ceramics, wood, and glass. Her work explores monstrosity through the lens of still life. Drawing on ambiguous, often unidentifiable forms, she disrupts familiar visual cues and examines the aesthetic norms that shape our perceptions of beauty. Balancing attraction and repulsion, her works question the collective gaze when confronted with forms that oscillate between fascination and rejection. They also evoke a contemporary vanitas, bringing natural cycles into tension with processes of human destruction and waste. Andr\u00e8s has participated in residencies in Argentina, Poland, and Mexico, and recently completed a residency at Le Bel Ordinaire in Pau. Her work has been presented internationally in group exhibitions, including at Kunsthalle Basel and Piedras Galer\u00eda in Buenos Aires, as well as in solo exhibitions in Strasbourg and at the \u0141a\u017ania Centre for Contemporary Art in Gda\u0144sk.\r\n
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\r\n\r\n[caption id=\"attachment_4036\" align=\"alignleft\" width=\"212\"]\"\" Portrait of Maria Loboda, \u00a9Friederike Seifert[\/caption]\r\n\r\nMaria Loboda<\/strong> (b. 1979, lives and works in Berlin, Nuremberg, and Krakow) creates installations and sculptures that investigate cultural codes through pictorial signs, materials, and objects. Her work examines the historical narratives attached to objects and juxtaposes them with contemporary interpretations, tracing how meanings shift through changing contexts. Drawing on poetry, history, semiotics, and material culture, Loboda explores the relationship between language and materiality, questioning what forms and symbols can express beyond their conventional readings. Through processes of deconstruction and reorganization, her practice has been described as a form of contemporary archaeology, often addressing structures of power with a subversive and critical perspective. Loboda studied at the St\u00e4delschule in Frankfurt with Mark Leckey from 2003 to 2008 and became Professor of Sculpture at the Academy of Fine Arts Nuremberg in 2025. Her work has been presented at documenta 13 (2012), the Taipei Biennial (2014), the 58th Venice Biennale (2019), and Art Basel Parcours (2022). Major solo exhibitions include Senckenberg Museum, Frankfurt (2023), Ujazdowski Castle Centre for Contemporary Art, Warsaw (2019), Schirn Kunsthalle, Frankfurt (2018\u20132019), Kunsthalle Basel (2017), and The Power Plant, Toronto (2016).\r\n
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\r\n\r\n[caption id=\"attachment_4033\" align=\"alignleft\" width=\"252\"]\"\" Portrait of Marianne Mari\u0107, \u00a9Lorine Fellmann[\/caption]\r\n\r\nMarianne Mari\u0107<\/strong> (b. 1982, lives and works between Paris and Strasbourg) graduated from the \u00c9cole nationale sup\u00e9rieure d\u2019art et de design in Nancy (2007) and the National College of Art and Design in Dublin (2009). She trained alongside documentary and fashion photographers and at the Paris-based laboratory Imaginoir. Working primarily with analogue photography, her practice draws on painting and is characterised by a strongly performative approach. Mari\u0107\u2019s work has been shown in solo and group exhibitions in France and internationally, including recent presentations at Kunsthalle Mulhouse (2025), CEAAC, Strasbourg (2024\u20132025), Palais de Tokyo, Paris, and the Museum of Modern Art, Warsaw (both 2024), as well as at Photo London (2022) and Paris Photo (2021). In 2019, she was the guest of honour at the Festival Internacional de Fotograf\u00eda de Valpara\u00edso, Chile. She has undertaken residencies at the Cit\u00e9 internationale des arts, Paris (2026), Tirana \u2013 Vila 31 x Art Explora, Albania (2025), and in Sarajevo, in collaboration with Duplex100m2 gallery, on several occasions between 2012 and 2022. Her photographs have been published in Reporters sans fronti\u00e8res<\/em>, artpress<\/em> and The New York Times<\/em>, among others.\r\n
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\r\n\r\n[caption id=\"attachment_4030\" align=\"alignleft\" width=\"240\"]\"\" Portrait of Vibeke Mascini, \u00a9Zazie Stevens[\/caption]\r\n\r\nVibeke Mascini<\/strong> (b. 1989, lives and works between The Hague and Mexico City) graduated from the Gerrit Rietveld Academie in Amsterdam (2013). Through sculpture, installation, video, and text, she explores how abstract phenomena can be scaled into the sensory realm, seeking forms of agency rooted in intimacy. Working in long-term collaboration with scientists, engineers, government employees, and musicians, she investigates electrical energy as a way of understanding interconnectedness and entanglement \u2013 between species, media, and nature, and between matter and energy. She was a resident at the Rijksakademie van beeldende kunsten, Amsterdam (2021\u20132023), and Delfina Foundation, London (2020). Recent solo exhibitions include Hammer Projects: Vibeke Mascini<\/em>, Hammer Museum, Los Angeles, Gust<\/em>, Z33, Hasselt, Netherlands, and Daisychain<\/em>, Kasteel Wijlre Estate, Netherlands (all 2026); Le monde est un verbe<\/em>, CAPC Mus\u00e9e d\u2019art contemporain de Bordeaux, Digits<\/em>, Kunstenlab, Deventer, Netherlands (both 2025); and Alchemy of Aches<\/em>, Proyectos Ultravioleta, Guatemala City (2023). Group exhibitions include A World of Water<\/em>, The Sainsbury Centre, Norwich, Gaia Should Be Safe<\/em>, MACA, Beijing (both 2025); and Songs for Tomorrowland<\/em>, Biennial of Land and Environmental Art, Safien Valley (2024).\r\n
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\r\n\r\n[caption id=\"attachment_4024\" align=\"alignleft\" width=\"225\"]\"\" Portrait Lionel Sabatte, \u00a9Guillaume Blot[\/caption]\r\n\r\nLionel Sabatt\u00e9<\/strong> (1975, lives and works in Paris and Pont-Audemer) graduated from the \u00c9cole nationale sup\u00e9rieure des beaux-arts de Paris (2003). Sabatt\u00e9 works across painting, drawing, sculpture and photography. He explores the forms and transformations of living matter, often drawing on the natural world and the fragility of life. His practice moves between sensitive figuration and forms approaching telluric abstraction, using unconventional materials such as dust, oxidation, natural pigments and dead skin. In 2025 Lionel Sabatt\u00e9 was shortlisted for the prestigious Marcel Duchamp Prize. He has received numerous awards, including the Luxembourg Art Prize (2020), the Prix des Amis de la Maison Rouge and the Drawing Now Prize (both 2017), and the Yishu 8 Prize in Beijing (2011). His work has been presented in numerous solo exhibitions in France and internationally, most recently at Maison des arts Georges & Claude Pompidou, Cajarc (2026), Ch\u00e2teau de Chambord (2023), and MAMC+ Saint-\u00c9tienne M\u00e9tropole (2021). He is currently the subject of a solo exhibition at the Mus\u00e9e de la Chasse et de la Nature, Paris. Lionel Sabatt\u00e9 is represented by the gallery Ceysson & B\u00e9n\u00e9ti\u00e8re.\r\n
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\r\n\r\n[caption id=\"attachment_4021\" align=\"alignleft\" width=\"240\"]\"\" Portrait of Adrianna Wallis, \u00a9Maxime Verret[\/caption]\r\n\r\nAdrianna Wallis<\/strong> (b. 1981, lives and works in the Vercors) graduated from the Barcelona School of Fine Arts. In 2020, she co-founded the Villa Glovettes residency program.<\/span> Her archive-based practice encompasses performance, sculpture, sound installation, and photography. She collects and reactivates people\u2019s stories, whether shared with her directly or embedded in objects, bringing them into dialogue with the intimate experiences of others. Through simple, poetic acts of manipulation and staging, she draws attention to the unnoticed, the ordinary, the forgotten, and the hidden, transforming them into spaces for memory and reflection. Recent solo exhibitions and performances include Il restera la gravit\u00e9<\/em>, Galerie Anne-Laure Buffard, Paris and Les liseurs<\/em>, Mus\u00e9e Carnavalet, Paris (both 2026); 11 petites soucoupes<\/em>, Mus\u00e9e d\u2019art et d\u2019histoire du Juda\u00efsme, Paris (2024); and Les lettres ordinaires<\/em>, Mus\u00e9e des Archives nationales, Paris (2020). She is currently participating in Vies minuscules<\/em>, a group exhibition presented by the Centre Pompidou at the Panth\u00e9on in Paris. Her work is held in public collections in France, including the FRAC Nouvelle-Aquitaine M\u00c9CA and FRAC Grand Large, and in Spain at La Panera.\r\n
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\r\n\r\n[caption id=\"attachment_4027\" align=\"alignleft\" width=\"218\"]\"\" Portrait Yuyan Wang, \u00a9Yuyan Wang[\/caption]\r\n\r\nYuyan Wang<\/strong> (b. 1989, lives and works in Paris) is a filmmaker and video artist whose works involve recycled materials from the industrial sphere of image production, tracing their mutation and proliferation within the digital frameworks and representations. Through the editing process, Wang deconstructs and recontextualizes the intricate hierarchies and inherent meanings in materials \u2013 whether found, processed, and produced \u2013 striping symbols of their conventional paths of perception and turning them into immersive sensory experiences. Wang completed her studies at the \u00c9cole des Beaux-Arts de Paris in 2016 and later at Le Fresnoy - Studio national des arts contemporains in 2022. Her work has been showcased at Tate Modern, Palais de Tokyo, UCCA Beijing, the 12th Berlin Biennale and various festivals, such as the Berlinale International Film Festival, the International Film Festival Rotterdam, MoMa Doc Fortnight, CPH:DOX, the European Media Art Festival, receiving numerous awards. Recent solo exhibitions include Glowing, flaring, lurid, loud<\/em> (2026) at CRAC Alsace, Altkirch, Weather<\/em> at 3 bis f - Centre d'arts contemporains, Aix-en-Provence, and #1616d<\/em> at The Douglas Hyde Gallery, Dublin (both 2025).\r\n
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