Rossella Biscotti’s (born in Molfetta, Italy, lives and works in Brussels and Rotterdam) artistic oeuvre encompasses videos, photographs and sculptural work. She uses montage as a gesture to reveal individual narratives and their relation to society. In her cross-media practice, cutting across filmmaking, performance and sculpture, she explores and reconstructs obscured moments from recent times, often against the backdrop of state institutions. In the process of composing her personal encounters and oral interrogations into new stories, the site of investigation tends to leave its mark on her sculptures and installations. By examining the relevance of the recovered material from a contemporary perspective, Biscotti sensibly weaves a link to the present.
Biscotti took part at major international exhibitions including Steirische Herbst (2018); Contour (2017); 55th Venice Biennale and 13th Istanbul Biennale (2013); dOCUMENTA 13 (2012), and Manifesta 9 (2012). Her work has been presented in solo exhibitions at Witte de With (2019); daadgalerie (2019); Kunsthaus Baselland (2018); V-A-C foundation at GULAG History State Museum, Moscow (2016-2017); Museion, Bolzano (2015); Haus Lange Haus Esters, Krefeld; Wiels, Brussels; Sculpture Center, New York (2014); Secession, Vienna(2013); e-flux, New York (2013); CAC Vilnius (2012). Selected group exhibitions include: Stedelijk Museum (2017, 2019); Tate St.Ives (2018), Moderna Museet (2017), Van Abbemuseum (2016), IMMA, Dublin (2015), ICA London (2014); MAXXI, Rome (2017, 2010), Museu Serralves, Porto (2010).
In 2013 she was recipient of the Mies van der Rohe Stipend. She won the Premio Michelangelo at XIV International Sculpture Biennale of Carrara in 2010, and the Premio Italia Arte Contemporanea 2010, Maxxi in Rome. In 2009 she was awarded the 2nd Prix de Rome (NL). She graduated from the Accademia di Belle Arti in Naples in 2002, and attended the Rijksakademie van Beeldende Kunsten in Amsterdam in 2010 – 2011.
Biscotti’s work is held in important collections internationally.
Photo: Krzysztof Zielinski, 2018