INSIDEART | ROME, 25 JULY 2025
Born in Alessandria in 1972, Marzia Migliora lives and works in Turin. Her artistic research is rooted in a lucid and poetic investigation of the historical, social, and economic dynamics that shape the relationships between individuals, communities, and the environment. Through a wide range of media – from drawing to sound, from performance to installation, including video and site-specific interventions – she creates works that often inhabit spaces of friction, capable of generating awareness, responsibility, and memory. Her practice activates mechanisms of listening and care, exploring margins, silences, and the conditions of absence and presence, with a sensitivity that intersects issues of gender, labor, social justice, and ecology.
(Photo by Fausto Brigantino)
In 2025, her activity stood out for three projects of great symbolic strength and ethical engagement. The first, Minuto Mantenimento, took shape in Palermo, in the historic setting of Palazzo Abatellis, where the artist presented a series of works developed from workshops with individuals serving non-custodial sentences. On display were work overalls transformed into uniforms for “the craft of living,” drawings from an existential “maintenance notebook,” puppets, and large-scale images on recycled paper, in dialogue with the famous fresco The Triumph of Death. It is a work that intertwines the fragility of the human experience with the need for redemption, affirming the dignity of labor even in places of marginalization, as a form of self-narration and resistance.
(Photo by Mariano Dallago)
At the same time in Milan, Migliora inaugurated Run Fast and Bite Hard as part of the “Visioni Diacroniche” cycle at the Volvo Studio, in collaboration with the Biblioteca degli Alberi. The installation consists of a car entirely covered in grassy fabric, inside which the public is invited to sit and listen to an imaginary soundscape. The car, a symbol of industrial progress, is transformed into an organic and almost plant-like container, triggering a dialogue between bodies, nature, and memory. The work is a silent invitation to multispecies coexistence, to deceleration, to recognizing the vegetal world as a dialogue partner.
(Marzia Migliora – Minuto Mantenimento)
On the summer solstice, she inaugurated the project Lotta per l’esistenza at Arte Sella, spread between Malga Costa and Villa Strobele. Here, Migliora constructed an imaginary landscape populated by insects, plants, and hybrid creatures made of paper, papier-mâché, and humble materials. The work stages a profound reflection on adaptation and survival, inspired by the devastation of the forest caused by Storm Vaia. At Villa Strobele, a series of interventions on old pages of La Domenica del Corriere selectively erase human and animal figures, restoring narrative centrality to the landscape. As in many of her previous works, erasure here becomes a gesture of rewriting, a critical act that overturns the hierarchy between presence and omission.
Marzia Migliora’s work stands out for its ability to transform everyday materials, minimal gestures, and marginal narratives into tools for collective reflection. Her works do not shout, but linger, sediment. The artist does not merely represent reality; she traverses it with a practice that is both political and poetic, in which the boundary between art and life dissolves into a form of active, constant, radical attention.
(Foto di Mariano Dallago)