libera mazzoleni
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106 pages illustrated with drawings, b/w photographs and artist’s texts; cm 23 x 29, in Italian. Editrice d’Arte Gorlini Milan 1974. (€ 250,00 + shipping)
The art-book LINEE, COMPLESSI, ESSERE, is a lively artwork that undercuts the stereotype of abstract project development in favor of an individual making on the part of a subject who lives all the aspects of her own time, exposing its fragility, unease, impotence, frustration in her own artistic expression. An artistic and historical document situated in the complexity of the 1970s.
essay by critic G. Longoni with a brief text by the artist. In Italian/English/French. 46 pages, 12 colour images with poems, cm 17 x 28; Edizioni d’Arte, Milan 1997.
The paintings and volume of Vorrei incontrare il cuore del mondo originated from a chance visit to Theresienstadt (a small city north of Prague) and from a trip to Palestine. In the book the artist’s thoughts accompany the paintings reproduced and re-used from a children’s workshop.
“Many are the things that are terrible. None is more terrible than Man”, essay by critic G. Longoni. In Italian/English, 102 pages, 23 colour images,
cm 16 x 23; Edizioni d’Arte, Milan 2001.
In “ [...] Others Colour Our Life, twenty-three panels show and visualize a subjectivity that is obstinatelòy rooted in our world, an interior nature that entrusts the task of evoking a passage to signs and the many variations of their rythm; two extremely different temporal worlds are told here: the one inaugurated by the auroral thought as put forward by Aletheia, who places Being in the “Care”; and the one opened by “calculating reason”, which says that Being is an infinite manipulation of the Existing and is manifested in the enormous means of Techne […].”
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2002 LIBERA - Fragment of a path
presentation by G. Longoni; texts by E. Fiorani, L. Giudici, Janus, R. Loda, P. Restany. Text Italian/English, 74 pagine, 36 colour images, cm 16 x 23, Lupetti Editore, Milan 2002.
A quick overview from the sculptures of the 1970s to the paintings after 2000.
2006 Art-book: ATLAS OF THE WORLD - the map of power
text by critic G. Longoni with a piece by the artist. 80 pages, 74 colour images, cm 19 x 28. Lupetti Editore, Milan 2006.
ATLANTE DEL MONDO 2004 an acrylic painting on newspaper sheets,
m 5 x 3,4, later printed digitally on pvc. This painting, for its content, was easily transposed into book format and thus a “true atlas” originated, complete with continents, maps, etc…. An atlas however where the desire for sea and sky encounters dissonant voices inhabiting the world and making it uneasy.
2007 Art-book: RHUMA Eritis Sicut Dei
critics’ texts by L. Vergine, E. Fiorani, L. Giudici, G. Longoni, R. Moratto and a piece by the artist. In Italian/English, 96 pages, Reproduction of 212 squares, with the corresponding information in appendix, cm 22 x 22, Silvana Editoriale Milan 2007. (€ 20,00 + shipping).
Rhuma – Eritis Sicut Dei, is Libera’s most recent work-in-progress, begun in 2004 and currently comprised of a set of 300 squares of different, brightly-coloured fabrics on which the artist has written the names and dates of tragic events that have marked the twentieth century. The interrupted life of little Rhuma, a four-year-old Afghan girl who fell victim to traffickers of human organs, is the sign that gives the title to the artwork and the book. A painful path where the artist uses writing in its double meaning as drawing and as sign, that is as form and as communication, a path in which she reveals and testifies to the cruelty of real life, reaffirming that tie between painting and civic outcry that she feels so deeply. Lea Vergine.
photographs and poems by Libera Mazzoleni, essay by G. Longoni, G. Foschi. In Italian/English, 72 pages, 46 colour images, cm 22 x 22; Silvana Editoriale Milan 2007. (€ 20,00 + shopping).
The book, faces with the language of the art, but in unusual way a great deal, meaningful problem list of great actualities, tracing a run" [.] aesthetical-poetic inside the abysses of the exclusion, of the separation, of the negation, of the active and violent nihilism, to give a facing the hell without that every day lives more to recognize it, because we have called  it with sweet names: safety, peace, democracy, liberty, defense of identity in the book, the images flow with expressive simplicity, exemplifying as the walls of the mind, is the devices envoys in action for 'to remove' the other, the migrant one, the foreigner, the woman. The author, exposing himself/herself/itself in before person puts in scene a "liquid identity" to understand and to be able to tell that manifold ways that are announced in the world, in the form of the exclusion, of the negation, of the shame, of the sadism.
2008 Art-book: LAS MARIPOSAS
drawings and texts by Libera Mazzoleni, Italian text, 60 pages, 42 colour images, 22x22 cm.
In the book are enclosed the 42 plates of the work: "Las Mariposas".
"I started working on Las Mariposas in autumn 2007, after hearing of the tragic phenomenon of feminicidio in Ciudad Juárez. In the 42 plates 600 butterflies are neatly arranged; on each butterfly is written the name of a female victim of this tragic reality."
drawings and texts by Libera Mazzoleni, Italian text, 93 pages, 82 colour images, 22x22 cm.
"Lilith and her grandmother" is an attempt to respond to the desire of a contact between mine and the younger generations, starting from the observation that we live together a "common world" that we would like better.
I chose a narrative form, where the word and the image are mutually supportive. As an artist, I think that art is that space of the soul where the thought is collected and interrogates the meaning of events, taking care of what we threw away, which lives in the intervals of silence and may not have a voice. I also believe that every expression is always a beginning, something unfinished that asks you to find his way in the plurality of interpretations that accompany it.
2019 Art-book STANDING IN THE EFFIMERAL Pathways of meaning
Introduction by the artist. Critical foreword by Graziella Longoni. Italian text p. 74 - 23 figures.

[...] seeing the workshop as an alchemist’s laboratory and art as a medicine made me think of the art of divination as it has evolved over time, and of the Great Work of the alchemist.
I felt the need to evoke these experiences, which I interpret as a quest for meaning, an attempt to find a remedy to the inconsistency of our being.
Introduction, poetry and images by Libera Mazzoleni. Critical foreword by Graziella Longoni. 99 pages, 40 images.

Forget nothing. Take responsibility for remembering everything: the events, the practices and systems, and the places burdened with the weight of shame. The dark side of a story in which a woman, often stripped down to bare life by the “sovereign power”, can only exist as “nature”: an inanimate body to be used, abused and sacrificed when she becomes a burden and is no longer needed [...]
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2020 Art-book ALPHABETS
Introduction by Elisabetta Fiorani, Graziella Longoni pag. 67, 62 images.

“Alphabets” highlights the link between language, at its inception, with the body and nature. It also evokes the historic process of abstraction that has transformed language into pure convention; a sign that takes the place of the real, dissolved into the mathematical function of a formula and algorithm that allows it to be manipulated infinitely, accor-ding to the logic of control and dominion that characterizes the age of the Anthropocene.
2020 IL BACIO - catalogue
introduction by Graziella Longoni: “Re-inhabiting one’s “own body”: women take the floor.
Raffaella Perna: Feminism as the “recovery of a concealed identity”: the work of Libera Mazzoleni, 1973-1979. pag. 58, 13 immagini.

[...].Libera Mazzoleni takes up Warhol’s provocation and enriches it with meaning, shining light on sexual difference, which he overlooked. She restores the dignity of an autonomous subject to women and, with this reminder, denounces the patriarchal ideology that cancels it and foments all form of sexist racism, imposing the supremacy of man over woman, phallic heterosexuality as a norm rooted in nature and the rejection and condemnation of homosexuality as deviance.
By representing women without male filters, she reminds us that the cultural revolution initiated by Warhol is not yet complete. G. Longoni