I have a background in Art History (La Sapienza, Rome) and Comparative Literatures (Sorbonne Nouvelle, Paris), and I am currently undertaking a PhD in Art History at the University of Sussex, funded by CHASE. My research focuses on the late works of Carla Lonzi, particularly the intersections of art criticism, feminist theory, and experimental writing. I am interested in how art writing and life writing converge, and in the potential of personal narrative as a mode of critical and political expression. Micro, self-, queer, and feminist publishing form a key part of my research, both as a historical field and as a contemporary practice that challenges dominant structures of authorship, visibility, and knowledge production. My work often explores how writing—both individual and collective—can be used to rethink the relationship between theory, practice, and lived experience.

I am interested in working with artists whose practices feel fearlessly authentic, both reflect and challenge contemporary languages and institutions, provoke a sense of surprise and a compulsion to deepen knowledge of their work. My focus lies in the attitude towards process rather than any specific medium. I am particularly interested in artists who engage with text-based practices—whether visibly displayed or woven in paratextual elements and constructed personae—and drawn to encounters that foster mutual learning and transformation.

I am the co-founder and director of La Plage, a project space initiated in 2015. Located in a 5×2-metre vitrine in a passageway in Paris’s 3rd arrondissement, La Plage emerged out of economic constraints and is grounded in structural precarity, both a reflection of and a response to the conditions shaping independent curatorial practices today. It engages critically with notions of visibility, display, and spatial negotiation, and has become an iconic and resonant platform within the contemporary art landscape — you can explore the programme here. Over time, La Plage has developed into a blueprint for a radical exhibition model, one that reconfigures the hierarchies between centre and margin, positioning this dynamic as a generative site for artistic and curatorial practice.

Much of my writing centres on other writers, including Carla Lonzi, Gloria Anzaldúa, Ariana Reines, and Dodie Bellamy. You can read a few of these pieces here. I also write and collect texts around themes such as addiction, nostalgia, and rituals, including a daily journal addressed to Rita, the barista at the library where I work, who is a Taylor Swift fan.

In 2023, I took part in a collective translation workshop led by Allison Grimaldi Donahue at ICA Milan, where we translated (from English to Italian) texts by Stacy Szymaszek, Mary-Kim Arnold, Kimberly Alidio, Mirene Arsanios, and Kyle Dacuyan. The project culminated in a publication, now out of print.
I’ve also worked on duo translations (from Italian to French): with Julien Marchand , on Narciso (1966–67), a short film by Marinella Pirelli, presented by Terzo Fronte at Art-o-Rama in Marseille (2024); and with Luc Benezet, on the second part of Non sempre ricordano (1977–1985), the epic poem by Patrizia Vicinelli (2025).