Rebecca Moccia


Curated by Christian Caliandro


From 8 June to 27 July 2019


Opening Saturday 8 June from 6.30 p.m. to 8.30 p.m.



The Massimodeluca gallery is pleased to present Fireworks, a solo show by Rebecca Moccia (from 8 June to 27 July 2019, opening Saturday 8 June from 6.30 p.m. to 8.30 p.m.). 


Fireworks is not a traditional exhibition but, rather, a system able to activate other systems: works, but also texts, communications, objects. Everything is centred around the narrative process rather than the work itself. It is the tale that gives life to the exhibition mechanism, in which in fact the activity of the exhibition gives way to experience.


As the artist herself says, “Characterised as it is by thematic repetitions, digressions, and a mythic-poetic aim, the Fireworks project intends to be a choral, generational tale about the work of artists and the romanticism of their useless gestures, and it appears as a meta-narration of the undertaking of their professional activity. In this context, fireworks act as a metaphor for the figure of the artist and her work, as explosive as it is ephemeral and desperate, and that in an enchanted and brilliant flash is consumed yet remains in the mind’s eye; an ancient spectacle, overflowing with mythology and that, even though in an anachronistic way, still amazes and fascinates us.”


And so the works, environments, and situations that Rebecca Moccia has in mind and develops calmly show their fragility, their precariousness, and even their legibility; they have no fear of failures, errors, rejections, blockages, deviations, digressions, and sudden and apparently unjustified collapses (which, on the contrary, make up the basis of their development); they refuse to join up with and make reference to aims to be reached, to previously established results. This is an open research, one that accommodates the unforeseen, unexpected meetings, life – the chance and chaos that characterise and nourish them.


Rebecca Moccia’s art is one that tends to leave the context behind voluntarily: for example, one of the happenings that is part of the project consists of giving away on public transport 500 examples of a signed and numbered drawing by the artist; whoever receives the drawing can decide to register online on the site, created together with Officina Tesla, and give their position on a map which will allow following the movements and, therefore, the story and events of these drawings.


The curator, Christian Caliandro, has said, “The drawing of fireworks symbolises the portability (what is small on a large-scale, and the large on a small-scale), the precariousness, and the intangibility of poetry. Folded paper, marks and gestures. In a certain sense it stands for the artist and her way of understanding art, one that is outside the commonly accepted and diffused logics of today – ones linked to the austerity of forms, a lack of generosity, distance, a wish not to be exhibited too much, and a misunderstood politeness – all conditions that work against experimentation.” This metaphor for the work and the artist is in line with an extract from Jack Kerouac’s On the Road, 1957: “[…] the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes ‘Awww!’”


The pieces in Fireworks are all balanced between a definitive form and a direct representation of their process of being made. These fireworks cultivate and nourish a deep and genuine affection for human things: for the things – small, fragmentary, unfinished, stupid, ridiculous, inadequate – that make up everyday existence.



Rebecca Moccia (Naples 1992) lives and works in Milan. After having gained a diploma in sculpture at the Brera Academy in Milan, she graduated in art history and criticism from Milan University after a research period undertaken at the MAC USP, Museu de Arte Contemporânea da Universidade de São Paulo (Brazil). In 2015 she held her first solo show, Sempre più di questo, curated by Lorenzo Bruni, at the Galleria Massimodeluca in Mestre; this was followed in 2016 by Substantial, with Ornaghi & Prestinari and with a contribution by Ginevra Bria, at the Open Box, Milan; in 2017 she presented Coraggio, a special project for Rossmut in Rome, and Cuore, curated by Stefano Giuri, at Toast Project Space, Manifattura Tabacchi, Florence. In 2018 she was one of the artists who took part in XXIV CSAV at the Fondazione Antonio Ratti, Como. Her most recent pubic intervention was Fuoco in Tasca, undertaken for Opera Viva Barriera, Milan, and a project by Alessandro Bulgini in collaboration with the FLASHBACK fair in Turin, curated by Christian Caliandro. Parallel to her art output, Rebecca Moccia has written critical articles for such contemporary art magazines as Arteecritica and Desartes Brasil, as well as undertaking artist-run projects that question the ways of enjoying and developing contemporary art, such as the three editions from 2015 to 2017 of the Studi Festival, Milan, and FEA, festival dos espaços dos artistas de Lisboa, during ARCO, Lisbon, in 2018 and 2019.