Romina de Novellis, is a performer (born in Naples in 1982, she lives and works in Paris since 2008). After some years dedicated to dance and theatre, she lands in the performing art scene cutting off both speech and choreography from her artistic research, deciding to focus on the language of gestures, overall replacing the body in an urban environment. In 1999, she graduates from the Royal Academy of Dance of London method (RAD certification) and continues her studies at the DAMS of the University of Rome. In Paris, she studies anthropology (ph D) at the EHESS.
Recent performances include : "La Gabbia", 2016, Opening VIP The Armory Show 2016, Galerie Alberta Pane in collaboration with KREEMART; "La Pecora", 2013, curated by Mehdi Brit, Musée de la Chasse et de la Nature, Nuit des Musées, Paris, France; "Auguri", 2014, FIAC Hors-les-murs, Fauverie-Ménagerie, Jardin des plantes, Paris, France; "Inferno", 2015, curated by Raphael Castoriano, at the occasion of the Les Amis du Palais de Tokyo's dinner and the Tokyo Art Club, Paris, France; "Uno", 2015, performance live commissioned by Mehdi Brit, Espace Louis Vuitton, Paris, France; "La Pecora", 2015, curated by Moataz Nasr, Something Else Off Biennale Cairo, Cairo, Egypt; "La Sacra Famiglia", 2015, in collaboration with Le Toboggan, Dafna gallery, Museo Archeologico Napoli, MADRE, Alberta Pane gallery, Naples, Italie.
(...) The work of Romina de Novellis revolves around the idea of confinement, a constant effort to set the body free and the absolute impossibility of achieving this goal. One could easily assume a feminist message here, but it is far more than just the female body that is at stake in Romina's work, it is the universal sense of the suffering body. One could read a social and political intention, an evocation of the workers' confinement in our modern society, but it is far more than a contemporary social allegory, it is the eternal tragedy of humankind, prisoner of his condition. One could also posit the myth of the wild man, enraged and dangerous, whom we need to lock, confine, put aside in order to protect ourselves, but it is far more than just some 'history of madness', it is a metaphor of perpetual oddity. Romina's work goes beyond such categorizations, it encompasses these interpretations in a vaster scheme, structured around the three vectors of time, space and action, leading us to an encounter between the gesture of the performing body, vulnerable and precarious, and the glance of the social group that welcomes it, a confluence between the artist's interiority and the subconscious of the spectator (...).
Excerpt from the text "Wool and Roses" written by Marc Lenot, 2013