Press

INTERVIEWS/TV

 

 

2019  Fondation Museum Pino Pascali, LIUBA soloshow opening speach with authorities   7.6.2019

2018  LIUBA : une « nonne » dans l’art contemporain. Dialogue avec l’artiste, interview with Ambra Giombini on Art Juice

2016   TV interview at RAI, Italian National TV, RAI3.Tg3 and RAI2 Costume e Società
2015   This is Not a Performance!!! Performance Art As a Social Soul by Damian Killeen in Tablet 2.0
2015   Video interview with Luca Panaro for Centrale Fotografia, Fano
2014   Masterchef – LIUBA partecipation
2013   THE COLLEGIUM Forum & Television Program’ (Berlin), tv interview and videoscreening
2013   Video interview by Egle Prati in talkingart.it
2011   IkonoTV (Berlin)
2010   IL DITO E LA LUNA di Loredana Barillaro for seroxcult.com
2008   Interview with the artist Liuba – Marco Minoletti for ilgiornale.ch
2006   Artè TV, performance at Galerie Parisud, Paris
2005   RAI3, Passepartout
2004   RAI2, TV News
2002   Interview with the artist by Luca Panaro
2001   ART TV, Matchmusic Satellite TV
2000  TeleNovara, Talk Show

SELECTED CRITICAL TEXTS

 

 

Ambra Giombini, LIUBA una “nonne” dans l’art contemporain, in artjuice.net, 2018 (FRA)

“J’ai découvert LIUBA grâce à une vidéo où l’artiste, habillée en bonne sœur, prie selon les rituels des principales religions sur la place de Saint Pierre à Rome. Je passe souvent place Saint Pierre et je me demande : qu’est-ce qu’il peut y avoir de bizarre dans le fait de voir une nonne prier au Vatican ? Je décide alors d’approfondir ce sujet avec l’auteur de la vidéo, l’artiste LIUBA…”

full text PDF: Ambra Giombini, LIUBA une “nonne” dans l’art contemporain

 

Ama Lorenz, The Art Project: refugees Welcome Germany Italy, in fairplanet.org, 2016 (ENG)

“When I was invited to present a performance art piece at the Kreuzberg Pavillon I realized that I was not interested in presenting a work of mine, nor in speaking about me. I wanted instead to give voice and space to the refugees and their problems. Also, because I was aware of that the media, at least in Italy, gave distorted information on the whole issue.”

full text  Ama Lorenz – 03.The Art Project- refugees Welcome Germany Italy

 

Damian Killeen, This is not a performance, in Tablet 2.0, 2015

“This may seem déjà-vu, but LIUBA is really still one of the few artist for whom any project or performance idea succeeds directly in expressing the essence of creative action which, through every possible form of engagement or direct or cross-involvement of the audience, invites reflection and, possibly, even action where the situation requires it. She does this with a consciousness, sensitivity and, especially, a social spirit, an inspiration the visual and performing arts, in general, cannot and must not be without.”

full text Damian Killeen – This is not a performance

 

Ama Lorenz, YOU’RE OUT!, in fairplanet.org, 2014

It is one of these old circle games that we played back in our childhood times: The Trip to Jerusalem. There is one less chair than the number of participants in this game. When music plays people are asked to dance and walk and when the music stops everyone has to find a chair to sit on. Everybody, except one person, will find a chair. And the odd person out will be excluded from the game.

full text: Ama Lorenz – You Are Out

 

Mark Bartlett, LIUBA: Everyday Life, Institutional Critique, and Secular Faith, in “Flash Art Event”, 2013

“Her works, because they change from performance to performance remain open, indeterminant and surprising. But most importantly, because she so stringently adheres to self- denial and authorship, she is able to repeatedly translate, and iterate, what is untranslatable – if performativity is that which brings the event into existence through its enactment, then it is secularized faith in otherness that she stages over and over again, in concrete places like Rimini, Avignon, Brussels, Modena, and Frankfurt, in order to call to, to pray for, heightened attention to the everyday.”

full text Mark Bartlett – Liuba: Everyday Life, Institutional Critique, and Secular Faith

 

Clara DeGalan, “Unhooked from Time” at Gallery Project, in The Detroiter, May 1, 2011

Unhooked from Time” has a bunch of fun films on display, all of which combine humor and profundity with varying results. The standout is The Slowly Project, by a Milan and New York based artist named Liuba. It follows the artist, dressed in a gauzy green frock, walking with exaggerated slowness through urban areas in Italy and New York. The soundtrack includes the reactions of people on the street who see her, and find her bemusing, charming, and irritating by turns. To me, Liuba is spellbinding. Her anachronistic, dreamy loveliness and graceful, slow motion movements speak not only on our world’s frantic pace but on what opens up when something occurs to break that pace, causing people to stop, look, and awaken to new possibilities.

full text; thedetroiter

 

Mark Bartlett, Saint LIUBA appears in the Piazza San Pietro, The Finger and The Moon Blog, 2009

“Lest it be thought that Liuba acted callously and merely to provoke violence with a naïve impunity, while risking a polymorphous and perhaps perverse blasphemy and a pointless martyrdom, it is crucial to understand that she studied with an Imam to pray as Muslim’s do; was advised by a Rabbi; studied Brahman and Zen rituals; and with an Inuit shaman. Finger and the Moon was performed with great care and accuracy, with sincere devotion and is a genuine and groundbreaking work of religious art, in the ecumenical, scholastic traditions of Thomas and al- Falsifa.”

full text: Mark Bartlett – Saint LIUBA

 

Irina Zucca Alessandrelli, Chelsea Sabotage, exhibition text for Chelsea Sabotage, Weiss Pollack Gallery, New York, 2006

Liuba’s main interest in doing this provocative performance is the social aspect of the reactions, a sort of anthropological point of view. The audience’s reaction, in fact, provides a direct and immediate take on a country, a people, and its issues. At the SOFA, Liuba generated such an angry reaction that she was forced by the Show Management to leave the fair. The ironic aspect of this strong reaction is that security guards spent at least 20 minutes explaining to her what the red dots mean in the U.S. before they pushed her out, confiscating her cameraman’s ID and passport “because people pay for having a booth and people pay for visiting the fair,” as they kept repeating in the video.

full text: Irina Zucca Alessandrelli – Chelsea Sabotage

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