Andi Kacziba

Andi Kacziba (Ungheria, 1974) lives in Italy since 1997 where she worked as a model, and later devoted herself to photography. Her first cycles of works express through the laborious manual weaving of rope, the strength, tenacity and capacity for endurance of women who, deluded by the feminist movements of the 1960s and 1970s into believing that they had finally obtained the equal rights and dignity they were entitled to and had ardently fought for, find themselves today, in contemporary western society, transformed into mere status symbols, accessories and attributes of male vanity. Her works of art became a metaphor for the daily struggle every woman is still facing in the 21st century.

2014: Vìola, Milano, Studio Museo Francesco Messina. The first solo exhibition, where the artist presented a body of works composed of sculptures and bas-reliefs made of rope, beside her first work using mirrors, interactive tools to lead the visitor to self-analysis.

2015: Mater, Parma, Palazzo del Governatore. She investigates, also through the sculpture Altar of sterility, a personal and universal reflection on missed motherhood.

2018: Turning (G) old, Torino, Raffaella De Chirico Arte Contemporanea. The artist presents the exhibition Turning G(old), and investigates society's perception of women who are no longer young, beautiful, but bear the signs of time. The title is thought provoking: Old or/and Gold? The artist fills her facial wrinkles with gold (24-carat gold powder mixed with vinavil [Polyvinyl acetate or wood glue]), to reverse the value: "the more wrinkles I have, the more gold they contain, and as time goes by I will be worth more and more". Andi Kacziba documents the intervention on her body through a series of polaroid pictures, displays the golden wrinkles torn from her face in boxes, reproduces the wrinkles by engraving them on antique mirrors, and encourages the audience to experience the signs of time on their own reflection.

2019: No storks here, a series of polaroid pictures in which the artist's own body and its "degeneration" over time denounce the difficult role of contemporary women in society. The artist simulates her womb using a watermelon, and empties it with a kitchen knife. Each performance shot has an individual title, which tells a micro-story of missed motherhood.