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Valentina De Rosa

Valentina De Rosa was born in Naples in 1984, after studying painting, she specialized in photography as an art language at the Academy of Fine Arts in Naples.
You have exhibited in some group exhibitions including "Second Biennial of Young Photographers" -Bibbiena; "IX National Prize of the Arts" - Academy of Fine Arts of Brera; “X National Prize of the Arts” - Academy of Fine Arts of Bari; "Fotoconfronti OFF 2015" - Bibbiena; "The Darkroom Project Exibition 5" - Tevere art gallery in Rome; "Smart up Optimas contemporary art prize" - Naples; "Arte Laguna Prize 15.16" - Venice Arsenal; "VI edition of the Marche Center of Art Contemporary Art Expo" - San Benedetto del Tronto. You have exhibited in some personal exhibitions including “Myosotis” at Villa Monteturli in Florence; “Mono no aware” at the Vivian Maier Center for Photography in Campobasso. You use the camera lens as a dictionary through which you translate the contemporary landscape and that social psychology determined by cultural structures settled over the centuries, by new stimuli emanating from the global market and by uniform involution processes. Today she attends the studio of photographer Antonio Biasiucci where she is engaged in deepening the personal photographic research method.

"Villa Monteturli"

Valentina De Rosa teaches photography in the school and has focused her eye on the margins of the margins: Villa Monteturli, in Florence, is a fifteenth-century structure that houses thirty-six people, men and women between 14 and 60 years, severely disabled, with encephalopathies congenital or acquired carriers of motor, psychic, mental and sensory deficits.
De Rosa began attending Monteturli in 2013. Her photographs elaborate the psychological slap received from the meeting and that shock wave that comes out of it. The acid color and geometry temper bodies and faces, the repetitive and very simple set, the person in the center of the frame, open differently to the disabled life: a possibility, an uncontrollable variable of beauty and life, distorting the connotations and ordinary perception of reality.
Here you look into the eyes of the vital and transgressive energy of total disability, you perceive the total disarmity and the confidence of the protagonists, unconscious and extreme in the salvation of an image. There is no tragedy to report, one escapes from the tradition of reportage which in Italy has seen founding works such as those by Luciano D'Alessandro, Berengo Gardin and Carla Cerati. De Rosa stands beside the man in silence, joins the meekness of the guests, endows them with an enchanted gaze. She transfigures them into talking faces, sculptures with powerful gestures, Prisons freed from shapeless stone, redeeming a tormented life marked by treatments and medicines, silences and tears.
The life that chooses you prevails and the eye that chooses life in its fragility.

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