Matteo Coluccia

Matteo Coluccia

(1992 - Neviano, Italy)

Matteo lives and works in Florence, the city of his birth. Alongside training at the Academy of Fine Arts in Florence, he has taken numerous design and pedagogical courses focusing on performance and work in public spaces. His research explores the mechanisms that govern relationships between the individual, the masses, the public and private dimensions. Paying particular attention to the dynamics and behaviours generated by the interaction between these elements, he tries to provoke a reflection on the existential condition. The immediate translatability of the performance into real behaviours means that the artist usually expresses himself with individual and collective actions. He uses performance as a device of relational investigation and tends to trigger regressive dynamics through his actions, with the intention of testing his position in relation to social constructs, and bring out original motifs that in habitual behaviour appear as natural.

Recent exhibitions: 1968/Deadline, curated by Sergio Risaliti and Luca Scarlino, Museo Novecento, Florence (2018); Resistere, curated by Pietro Gaglianò, Santa Verdiana Curch, Florence (2018); Fare un’immagine di tanto in tanto, curated by Gabriele Tosi, Localedue, Bologna (2018); Studiovisit – incontri, visioni, conversazioni su arte e politica, curated by Pietro Gaglianò, Casa Giovanni Mannozzi, San Giovanni Valdarno (2017); The stray statue paradox, curated by Gabriele Tosi, SACI Studio Arts College International, Florence (2017); This is the end, curated by Elena Magini, Centro Pecci, Prato (2017).


Artistic Residencies

three-year plan of manifatturanaturacultura

La Cura

Proxima Centauri

wood, canvas, solvent enamel, glass
261x335 cm

Proxima Centauri is configured as a monumental photo frame, in all respects similar to a normal photo frame that you can buy in the shops, inside which there is an inscription: festa (party or festivity). The work is presented as an apparition and, despite its dimensions, it does not require a precise reading, instead looking to trigger an immediate contact and a reflection on the continuous progress of events. It refers to its own ancient intimacy, occasionally touching the contemplation of life and death. The object, which by custom is understood as a container of memory, becomes a reminder, and it uses language to question what has not yet been subjected to the limits of our existing knowledge.