The artist Romina De Novellis revisits major works of arte povera from an ecofeminist perspective. She proposes to reinterpret and update certain themes and motifs of arte povera in order to rethink, in resonance with this movement, the relations between genders and between all living beings.
In response to Kounellis’ performance Untitled (Twelve Live Horses), 1969, De Novellis locks herself in a sow breeding cage. The control and mastery of the birth rate characterize intensive breeding and its economic profitability, a major stake of the agri-food industry. The female body is an object to be monitored, to be maintained with a view to productivity. In popular culture, the sacrifice of the pig is a popular festival that brings people together. De Novellis decides to lock herself up dressed as a woman-object, to show how our societies consume women’s bodies as well as animals’. She will regain her freedom at the end of the day. This action, both close and far from Kounellis’ performance, affirms a co-presence with the animal and, more generally, a new sensitivity towards the living.