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Branconi’s chaotic, turbid and howling painting is a coexistence of discharged colours and vivid masses of paint that outline shapes by scratching and consuming the surface. The works are characterised by a sometimes erotic, sometimes deranged atmosphere, suggested by the poses and attitudes of the characters. Through the use of strong colours, funny attitudes and a lively composition, Giuditta’s painting is noisy, shrieking, capable of screaming in the eyes of the viewer.




Born in Sant’Omero, IT (1998)Lives and works between Milan and Teramo, IT

SOLO EXHIBITIONS2022Les Filles Terribles, L.U.P.O., Milan (IT)


2024Steve Turner Gallery, Los Angeles (US)2023IOAMOTE, Laboratorio Arti Contemporanee, Teramo (IT) Haunthology, Galleria Giampaolo Abbondio, Todi (IT) Supernova, MIART 2023, Milan (IT)2021Salone d’Autunno, Galleria Giovanni Bonelli, Milano (IT) The Brief History of a new Perspective in Painting, MAC, Lissone (IT)Sguardi Dall’interno dell’Accademia di Brera, Lorenzelli Arte, Milano (IT)Straperetana 2021, The New Abnormal, Pereto (IT) Blinke, Frankfurter Westend Galerie, Frankfurt (DE)

COLLECTIONS2022Collezione Maramotti, Reggio Emilia, IT Collezione Paneghini, Busto Arsizio, IT 2021Collezione MAC, Lissone, IT

PUBLICATIONS2022Les Filles Terribles, L.U.P.O books2021Giuditta Branconi, curated by Massimo Kaufmann, Pondus Centocopie

FAIRS2023Untitled Art, Miami (US) Artissima, Turin (IT) ART-O-RAMA, Marseille (FR) ARTEFIERA, Bologna (IT) 2022ARTEFIERA, Bologna (IT)

Solo per scherzo (giro-girotondo), 2022, oil on canvas, 190x280 cm

Courtesy by the artist and L.U.P.O. gallery, Milan

In Giuditta Branconi's work there is something that wants to keep us at a distance, something that wants to prevent us from really getting in touch with the subjects that the artist portrays. A morbid curiosity is what, however, keeps us anchored to her paintings, desperately searching for a clue to recognize an image, a context, perhaps a symbol, but it all turns out to be useless when, for every element that we seem to recognize, another one will present itself ready to

destabilize our already precarious convictions. Mischievous and dreamy little girls, fierce and helpless animals, old school and Japanese tattoos. All to become a unicum, a seamless pattern. Although the artist declares that her subjects have no connection to her childhood, it is to ours that they sometimes seem to wink. An archive of images, the one the artist draws on, that does not seem to have any claim to coherence, neither stylistic nor conceptual. And the best part is

that there is no shame in this. The artist restores to the viewer the frenetic and fluid tourbillon much more like our reality than we can imagine and, she reiterates, through the gory color juxtapositions, the violence, the overwhelm and the lack of coherence that often surrounds us. This visual complexity is not limited solely to the esthetic question, ut is translated into an equally articulate technique. The artist paints on both the front and the back of the canvas. She

carefully plans the entire composition and only at the end of this operation decides the order in which to apply the layers of color, on one side and the other, so that they do not overlap, but, on the contrary, complement each other. The artist does not seem to have any interest in the materiality of the paint, preferring instead its almost total absorption by the canvas, which becomes almost transparent and penetrable in her hands.

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